A portrait of Łódź, Poland that exists in a time warp of sad memory. Hutton creates an empty world evoking the 19th century industrial atmosphere that is populated with the ghosts of Poland’s tragic past.

Peter B. Hutton (1993) - Lodz Symphony.mkv

General
Container:  	Matroska
Runtime: 	19 min 42 s
Size: 	190 MiB
Video
Codec: 	x264
Resolution: 	738x540 
Aspect ratio:  	4:3
Frame rate: 	25.000 fps
Bit rate: 	1 095 kb/s
BPP: 	0.110
Audio
#1:  	2.0ch AAC LC @ 253 kb/s

https://nitro.download/view/5C6741F6DED8BAA/Peter_B._Hutton_(1993)_-_Lodz_Symphony.mkv

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The post Peter B. Hutton – Lodz Symphony (1993) first appeared on Cinema of the World.

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A sweeping meditation on global commerce, labor and geography in the 21st century which chronicles the birth, life and death of a merchant ship.

“The sublime is no more strongly felt than in Peter Hutton’s magisterial At Sea. Put simply, the film tells the story (“the birth, life and death”—in the director’s words) of a container ship—but there are no words to adequately describe the film’s awesome visual expedition. Hutton knows the sea. His experiences as a former merchant seaman have informed his filmmaking practice, known for its rigor and epic beauty. At Sea begins in South Korea with diminutive workers shipbuilding. The colossal vessel is revealed in de Chirico-worthy proportions, its magnitude surreal to the human eye. Off to sea, the splendor and intensity of the water—set against the vibrant colors of the containers—causes us to see the world anew. The film concludes in Bangladesh amidst ship breakers as enthralled by Hutton’s camera as we are by his images.”—Andrea Picard

923MB | 59 min 11 s | 718×538 | mkv

https://nitroflare.com/view/D164ED4EB92BF29/At.Sea.2007.DVDRip.x264-HANDJOB.mkv

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The post Peter B. Hutton – At Sea (2007) first appeared on Cinema of the World.

Quote:
One of several triptychs showing in this year’s Wavelengths program, Peter Hutton’s Three Landscapes zeroes in on the industrial terrain ringing Detroit (where he grew up), the bucolic pastures of the Hudson River Valley (where he now lives), and Ethiopian salt flats (where he travelled under Robert Gardner’s sponsorship). The most obvious link between the three is labour, but the film functions less as a thesis statement than a poetic meditation, a haiku-like attempt to distill the landscape using a few sparing, echoing graphic forms. The Detroit sequence is the most immediately arresting, its subdued colour palette and precise graphic calculations of grass, clouds, sky, smoke, and industrial architecture leading to a dramatic chain of images of two men inching across a high ladder—a vision of meditative calm in struggle. Workers and clouds are combined to more expressly lyrical effect in a superimposition punctuating the Hudson River Valley sequence, a marvelous bit of photochemical guesswork (albeit one now rendered in DCP projection). If the Ethiopia sequence seems comparatively uncertain about itself, its final long take of a line of camels stilled by distance and heat closes the film with an eloquent appeal to the necessity of limits. After the screening Hutton remarked that he takes special pleasure in those landscapes in which you see clouds moving faster than the workers, a point of view that goes a long way towards restoring the link between the documentary and spiritual connotations of this word “observe.”

http://www.nitroflare.com/view/93FC76365DE52B8/three_landscapes.mkv

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The post Peter B. Hutton – Three Landscapes (2013) first appeared on Cinema of the World.

“Peter Hutton is a still photographer that puts pictures into motion or it might be more apt to say that Peter Hutton is a motion picture maker that makes them still. His films are images, presented like slides, no inherent story, no specific connection other than local proximity. His camera remains locked down, his gaze intensely fixated on a particular setting as he allows time to unwind before the lens. The moments he captures are ones of small change, but profound beauty.

Skagafjördur is Hutton’s latest work. Filmed in black and white and color, this thirty-three silent film captures the panoramic splendor of Iceland’s desolate landscapes. Hutton’s camera records atmospheric changes – mist, wind, the breaking of light through clouds, the simple things that have helped define and shape the land. With a playful sense of scale he shows a houses in the shadow of an impossibly huge mountain. He shows the land lost in a sea of shimmering water. Most images are devoid of humans, a strong contrast to Hutton’s earlier work in New York city. Iceland sits alone nearly untouched by human hands. Small instances of human interaction – a telephone pole here, a lamppost there, and the curious presence of a photographer disturbs the disquieting beauty and meditative quality of the film and the land it documents.

If film is to survive the next century, if all is not lost to digital image making, it will be due to artists such as Peter Hutton. This is not to say that Hutton’s work could not be adapted to the ever improving field of digital cinema, but it is in his form and his aesthetic that I can see a defense for film’s existence. The early portion of Skagafjördur – the part shot in black and white – possesses a look that can only be found in works shot on film. It has a timeless appearance, full of depth, texture, contrast and grain. It’s the look of history. When he gets to the color portion of his film Hutton loses the wonder of the timeless image. The blue skies overshadow the earthtoned landscapes. These are images as fresh as yesterday. Instances of brilliance abound in the latter half of the film, but it becomes harder to argue that Hutton’s work must be made with film.

In 2004 Peter Hutton is a still photographer/filmmaker still making films. For himself and a few others working well outside the mainstream of narrative filmaking a forgiveness can be granted. Hutton’s work lends itself to the hypnotic mechanisms of a film projector. It’s no wonder so many young students nodded off during the screening. Lulled or bored to sleep by each passing frame or the dull sounds of the projector, clicking away at the back of the room, Hutton’s work demanded too much attention from an audience who equates cinema with television, not painting, or drawing, or ballet, or anything else you might see in hushed environment and not a smoky bar. Hutton’s latest film is not only important because of what he is documenting, but because he is utilizing film in the same way an artist might use paints or charcoals to capture reality – that is to say outdated. Perhaps film will go the way of portrait painting, a practice long since abandoned as a way of documenting the image of a person. Perhaps it will be resigned to special theaters, college classrooms, and art museums – is that so bad? As we have stopped picking up a paintbrush to recreate reality and as we have grown to see photographs in black and white as being more “artistic”, we may find that it is no longer necessary to shoot all our movies on film. We may soon reach a point where we can leave film in the hands of the artists, and not the entertainers.”

https://nitro.download/view/D3FE8C2FE9FB899/Skagadjordur.avi

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The post Peter B. Hutton – Skagafjördur (2004) first appeared on Cinema of the World.