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A man rescues a boy and later tries to get him off his back but to little avail, so they end up drifting around a subterranean world, populated by grotesque masked figures. A hundred years after Chaplin filmed his first feature film, The Kid, Norbert Pfaffenbichler offers an experimental punk-style interpretation, which the filmmaker himself has defined as a dystopian slapstick film.Read More »
The buzzing of an electric razor is replaced by Om chanting as a sharp-looking man gets ready.
Gary Davis wrote:
This four minute film explores our response to stereotypes – aural, visual and ideological. Smith signals these stereotypes to the viewer through a chiefly associational system, which deftly manipulates the path of our expectations. The structure is stunningly simple and deceptively subtle. We are taken on a journey from one concrete stereotype to its diametric opposite, as images transform and juxtapose to, ultimately, invert our interpretation of what we see and hear.
Peter Kubelka, ‘What is Film’ lecture series, National Film Theatre, London 2001, wrote:
This is hardcore cinema.Read More »
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A satirical exploration of the origins of humor that moves between the absurd and the deadly serious.Read More »
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(…) one and four screen versions (…)
Threshold is based on a small number of component sequences. It begins with abstract colour fields filling the whole screen then develops through other simple abstract images created by accidental exposure of film stock – edge fogging. The main image of the film is of border guards at a frontier post.
The film explores a range of film printing techniques using colour filtering, mattes and multiple superimpositions. It also includes a short section of computer generated abstract animation made at the Government Atomic Energy Laboratory in Britain in 1969.Read More »
Synopsis:
It started with filming the tree. Something was released in that manner of filming seemingly farthest removed from the procedure of the early films. I first thought a simple ordering of this rich material might be enough, something related to BARN RUSHES […] But the film only came into its form-life with the idea of linking this deep-rooted and far-outreaching tree material with that film on paranoia that had fascinated me for many years. –L. G.Read More »
Hotel Room (also called David Lynch’s Hotel Room) is an American drama anthology series that aired for three half-hour episodes on HBO on January 8, 1993, with a repeat the next night. Created by Monty Montgomery and David Lynch (who directed two episodes), each drama stars a different cast and takes place in hotel room number 603 of the New York City-based “Railroad Hotel”, in the years 1969, 1992, and 1936, respectively. The three episodes were created to be shown together in the form of a feature-length pilot, with the hope that if they were well received, a series of episodes following the same stand-alone half-hour format would be produced later. Following a negative to lukewarm reception, HBO chose to not produce more episodes.Read More »
Synopsis:
The second in Larry Gottheim’s ELECTIVE AFFINITIES cycle, MOUCHES VOLANTES is, in the filmmaker’s own words, “a celebration of elusive relationships” between sound and image, color and black-and-white, the moon and the waves, the aural testimony of Blind Willie Johnson’s widow Angelina and the camera’s illumination of a world simultaneously of and beyond the everyday. These lyrical fragments sweep in and out as with the tides; a time-based symmetry slowly emerges as the film reveals itself to be a perfect circle.Read More »
Miss Susan inherits the hotel from her auntie Barbara. At fist she thinks it’s the well known modern hotel Blue Star. Early on she finds out it’s another one with the same name, but much smaller and besides it’s forlorn. Instead of guests and personnel the hotel is freely occupied by three young men. Susan let them stay if they work for her, because she is determined to reopen the hotel. Soon first guest, Vladimir Rychta, arrives to the hotel and wants to arrange wedding feast there. Nevertheless his obstinate fiancée refuses to come to the old hotel and stay in the modern one. As the feast is canceled Mr. Rychta invites Susan to dine together. He becomes so enchanted by her, that he asks her to marry him. In the morning Mr. Rychta sends a telegram to his relatives that the wedding is off. Susan reads the telegram on its way and gets very unhappy. As she isn’t aware of the former fiancée, she understand it that Mr. Rychta has decided to not to marry her.Read More »
In this artful film by 85-year old director Manoel de Oliveira, the heroine, instead of being powerless in the face of a world ruled by men, finds herself to be far too powerful. Beginning when she was a child, Ema (Leonor Silveira as an adult) had the kind of looks and manner that could stop cars when she came up to a street — or cause accidents. As time goes by, she explores her power over men and, as a mature woman, chooses to marry a man who has virtually no machismo so that she can continue having affairs and exploring this mysterious ability of hers. Eventually she seeks to transcend her unusual limitation and accomplishes her death with astonishing serenity. This haunting story is based on a novel by Agustina Bessa-Luis.Read More »