Experimental

In this short film, the screen stares back at the viewer with an eye of its own.Read More »

Lapse is a research of a porous state of the cinematographic material which by “intra-photogrammic fragmentation” (Claudine Eizykman) and encrustation of grains unfolds in its crackling like a film in mesh.Read More »

A depiction of a girl’s uneasy state of mind as it wavers between life and death.Read More »

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A living chronicle of the residents of Béguinage neighbourhood – so named because it is situated on the site of former Béguinage. Designed as an encyclopaedic inventory, the film comprises around thirty chapters, each imbricated with the other, like so many pieces of a puzzle, or resembling a termite mound with many intersecting galleries. It takes place within the space and interstices of a day, starting at dawn and ending at night. (Boris Lehman)Read More »

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I’ve been brooding a lot lately about the way in which many of the best movies around have been ravaged by “narrative correctness.” This is the notion fostered by producers, distributors, and critics — often collaborating as script doctors and always deeply invested in hackwork — that there are “correct” and “incorrect” ways of telling stories in movies. And woe to the filmmaker who steps out of line. Much as “political correctness” can point to a displaced political impotence — a desire to control language and representation that sets in after one despairs of changing the political conditions of power — “narrative correctness” has more to do with what supposedly makes a movie commercial than with what makes it interesting, artful, or innovative. Invariably narrative correctness means identifying with the people who pay for the pictures rather than with the people who make them.Read More »

Third part of an experimental television program led by Grandrieux questionning TV flux aesthetic, this film focuses on a single interview with Jean-Louis Schefer who delivers his hypothesis on man-made images of itself.Read More »

Eric M. Nilsson’s rich and multi-layered masterpiece Anonym [Anonymous] avoids to be categorized. It’s a TV documentary, an essay film and a detective story at once. It starts with a finding in a container in central Stockholm; film strips, photographies, magazines and other leftover objects. Who is the man reappearing with a crossed out face? Why has this unknown man left this seemingly unfinished work and what’s his motif for staying anonymous? What is the meaning behind all this – if there is any?Read More »

Takashi Nakajima wrote:
Without warning, the image of a girl wildly waving a baseball bat that slices through the air leaps to my mind. Such speed also reminds me of the rhythm of the filmmaker’s previous works. Or is it a symbol of teenage madness? A ceremony to summon some creature from a legend?Read More »

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What started as a film test on new sync-sound film equipment quickly became a short film documenting the typical nuttiness behind the scenes at Goldsholl Design & Film Associates, a Chicago-based design firm that employed both Wayne Boyer and Larry Janiak. Janiak ad libs alone, as no one else would come out from the behind the camera. Shot by Boyer and edited by Janiak, a home movie.Read More »