Experimental

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In 1971, Hara Masato and a group or actors started shooting his 16mm film, The First Emperor, based on an old Japanese book about history and myths that is known as the Kojiki (‘Record of Ancient Matters’). He did not finish the film. A year later, he started filming again with a small Super8 camera, all on his own, now intending to make some shots of the locations he had not previously been able to film. On the way, he reconsidered his ideas and realised that the myths could not be found anywhere outside and were not filmable in a material sense, but that they were located in cinema itself or in the making of cinema. He decided that recording his hunt for locations was the best way to finish The First Emperor, in which the Japanese myths could also serve as material. Read More »

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Beyond a film, Icebreaker is in 1987 the first media composition, construction of 3 original works made on the Swedish icebreaker Frej, and involving the main means of expression. “Bateau Givre” by Jean Rouch (35′), carries the principles of direct cinema. Rouch discovers in his camera, without the artifice of a commentary, without the help of a third language, the work and the days of the icebreaker and the men who serve it. “Hans Majestäts Statsisbrytaren Frej” by Titte Törnroth (20′), offers a second approach, where the characters, who have acquired a mysterious presence with Rouch, evoke their work, their emotions, in their activities as well as in their moments of relaxation. This film answers the questions left unanswered in the previous one. Raoul Ruiz’s “Tales of Ice” (34′); when the viewer thinks he has gone around a reality that has become familiar, makes it tip over into a profusion of fictions; three stories weave together in this fantastic film where ice plays the central role, where the icebreaker becomes a strange vessel wandering on the edge of the world.Read More »

Set in a post-apocalyptic future, the story finds a handful of ragged survivors attempting to communicate with dolphins, while another cadre of survivors have made it their crusade to destroy all the world’s religions.Read More »

This short by Tsai Ming-liang, completed in 2021, was filmed at “the Dune” in Yilan, Taiwan, where the eight films in his Walker series were being shown.

A wordless performance/installation short film from Tsai.Read More »

The Girl and the Boy play in a garden. They are left alone there and they do not have any obligations to behave in a certain way. This gives them the freedom to create their own ways of interaction with the world. During such an interaction, adult social constructs inter-twist into weird children folklore and shift into an abstract sphere. There are secrets and various modes of being in the world of the Girl and the Boy.
(imdb)Read More »

Steven Soderbergh mixes Siodmak’s 1946 and Siegel’s 1964 The Killers
with wide selection of musical numbers “when presented with the challenge of delivering
some audio/visual material for a series of events organized in LA “Read More »

Synopsis wrote:
“The sub-personalities of me, as baby, athlete, witch and artist are synthesized in this film of superimpositions, intensities, and color layers coming together through the powers of film.” — Barbara HammerRead More »

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Jonas Mekas, the godfather of American “underground” cinema, shot literally miles of impromptu film on a tiny, touch-and-go Bolex camera before assembling his first “diary film” and screening it before an audience of friends and fellow indie artists in 1969. At that point the home-movie ethos was somewhat less than groundbreaking, but a glance at what Mekas’s contemporaries were working on or releasing at the time—Kenneth Anger was ensconced in off-and-on production for Lucifer Rising, Stan Brakhage was toiling on the 8mm Songs cycle, and Paul Morrissey had just morphed the Warhol aesthetic into the zeitgeist-preaching Flesh—suggests just how perpendicular his project stood in relation to the remainder of the bicoastal art-house scene. Read More »

Synopsis wrote:
In her first feature, after decades as a pioneer of lesbian cinema, Barbara Hammer weaves striking images of four contemporary gay and lesbian couples with footage of an unearthed, forbidden, and invisible history, searching eroded emulsions and images for lost vestiges of queer culture. Questions of historic representation are examined through addressing the margins, between-the-line readings, and images outside of prescribed textual boundaries. Archival footage from Lot In Sodom (1933), often regarded as the first queer film made in the United States, as well as footage from German narrative and documentary films of the thirties, are interwoven with contemporary footage in this multi-faceted, haunting documentary.Read More »