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Of all my films, this is the most popular to date. Unfortunately, it is also the most cartoon-like and has an almost visible storyline: the young boy’s travels through terror, death and the Underworld. My own conception of the circus sequence in the film connotes the world’s weakness for striking up the band to cover tragedy, as when someone falls from a high wire in the circus. I did achieve certain special “break-throughs” with OUR LADY OF THE SPHERE, in that the flat surface was broken with forward and away zooms, but this is a simple thing. In the process, I had to relinquish certain subtle and more tenuous relationships between moving components and also the highly artificial gravitational formulations and inventions of such films as DUO CONCERTANTES and HAMFAT ASAR. – Lawrence JordanRead More »

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Lawrence Jordan shot TRUMPIT in the basement of a house on Baker Street in San Francisco that he shared with Stan Brakhage in the mid-1950s. Brakhage himself stars in the film (along with Yvonne Fair). Featuring a card game played on the body of a naked woman, Jordan portrays male sexual frustration while slyly satirizing Hollywood reaction shots. Beat poet and filmmaker Christopher Maclaine provides the soundtrack of voice and manipulated instruments. TRUMPIT is a charming, youthful example of the American avant-garde. – Stela JelincicRead More »

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A tableaux vivant. The sound of the victrola employed “live” for screenings, utilizing the Vitaphone sound system. Created as part of Residency Unlimited: Special Features.Read More »

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This new medium of expression is the Absolute Film. Here the artist creates a world of color, form, movement and sound in which the elements are in a state of controllable flux, the two materials (visual and aural) being subject to any conceivable interrelation and modification. – Mary Ellen ButeRead More »

A married kleptomaniac (Sonoko) and a younger woman (Mitsuko) begin an unusual love affair which develops fast into a kinky sexual love triangle when Sonoko’s husband gets involved.Read More »

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Guy Maddin’s dizzily delirious 1992 film, Careful, has been called a pro-repression fable, a masterpiece of deadpan comic timing, a period piece evoking a time and place that never existed, and a Ricola ad gone horribly, horribly wrong. Utterly unique and yet evocative of myriad influences, Careful is a truly bizarre concoction created from the plundered relics of cinematic history and the dark attics of dreams.Read More »

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“Maclaine’s next film, Beat (1958), might be thought of as a continuation of The Man Who Invented Gold, since it often cuts back and forth between shots of golden lamps, lights in windows, and gold-colored objects, often situated in the direct center of the frame (in fact, golden lights show up prominently near the close of the fifth section of The End as well). Otherwise, Beat is something of a portrait of the bohemian characters of late-1950s San Francisco, made just as the scene was disintegrating into mass-marketed national media consciousness and North Beach became the tourist’s emblem of the Beat Generation. Once again, Maclaine’s editing technique positively sparkles.Read More »

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Those who still think the biopic is a boring and routine genre have an unbeatable occasion to let Boro in the Box change their minds. The life of Polish filmmaker Walerian Borowczyk, director of films like Contes immoraux or La bête, always halfway between eroticism and fantasy, is imagined by Bertrand Mandico as an oneiric and surreal black and white journey, from Poland to Paris, where Borowczyk wanders around foggy landscapes coming across all kinds of incredible situations. An extremely evocative work, ideal both for fans of Borowczyk and lovers of sensitive, irrational cinema.Read More »

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A young girl disappears in a forest in the heart of São Paulo, Brazil.
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