1960s

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An experimental film poem in celebration of life and visions. Techniques include live action, animation, montage and found images.Read More »

From Experimental Cinema:
In April of 1966, the Leo Castelli Gallery in New York opened an exhibit by the true Jay Gatsby of American art, Andy Warhol. Silver Clouds, as it was called, consisted in its entirety of a roomful of silver, metalized plastic pillow-shaped balloons inflated with helium and oxygen. They floated … that’s all they did … held aloft by the gallery’s own air vents. In comparison to Warhol’s yellow and pink Cow wallpaper exhibit then-ongoing in another part of the gallery, this was a dynamic work, but it was not without its charm for some.Read More »

Céline G. Arzatian wrote:
A photo shoot on the roofs and in the streets of Paris, under the astonished eyes of the inhabitants.

“The gaze is the way to be amazed again,” says François Reichenbach. A filmmaker of the moment, this intuitive, sometimes instinctive, explains that when you have to prepare a scene to film it, it is already too late. What happens will never happen again, you have to seize the moment. It is spontaneity that interests him: “I only like things that are not prepared, that are done, just like that, in the rush”, he says.Read More »

An innocent man gets killed for the debt accumulated by his gambler son. This sets Okatsu, a master with the sword and an adopted daughter of the victim, on a path of revenge.Read More »

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More consciously experimental than Whitehead’s other works, this film draws on a variety of sources, including sequences of London shot while Whitehead was at the Slade School of Art, glimpses of the singer and model Nico, and footage of the psychedelic underground nightclub UFO. There is also on-screen text, a voice critiquing it, and music from Pink Floyd, at this point still fronted by Syd Barrett–Whitehead’s old painting friend from Cambridge. The track here, “Interstellar Overdrive”, was recorded by Whitehead before the band signed to EMI and is much more exciting and beat-driven than the version they would later record for the label. There is no explicit link between the content of the film and the Cochrane Theatre, which is is named after, but the theatre was used as a venue for the Spontaneous Festival of Underground Films in 1966.Read More »

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On 11 June 1965, the Royal Albert Hall played host to a slew of American and European beat poets for an extraordinary impromptu event – the International Poetry Incarnation – that arguably marked the birth of London’s gestating counterculture. Cast in the role of historian, as a man-on-the-scene, and massively elevating his limited resources, Whitehead constructed the extraordinary Wholly Communion from the unfolding circus. As Allen Ginsberg, Lawrence Ferlinghetti, Gregory Corso, Harry Fainlight, Alexander Trocchi and others took to the stage, Whitehead confidently wandered with his borrowed camera, creating a participatory and anarchic film that is as much a landmark as the event itself, and launched his career.Read More »

IMDB wrote:
In Alexandria, in 1938, Darley, a young British schoolmaster and poet, makes friends through Pursewarden, the British consular officer, with Justine, the beautiful and mysterious wife of a Coptic banker. He observes the affairs of her heart and incidentally discovers that she is involved in a plot against the British, meant to arm the Jewish underground in Palestine.Read More »

IMDb wrote:
West Point graduate Lt. Hazard is posted to Fort Delivery, Arizona, where he has to deal with lax discipline, romantic complications, Apaches and his conflicting feelings toward the Indians.Read More »

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The overtly propagandistic, anti-religious plot of The Flower on the Stone (Tsvetok na kamne, Dovzhenko Film Studio 1960–1962) does not look like promising Parajanov material: when a new Komsomol mine and mining community is established in the Donbas region, a member of a Pentecostal cult sends his daughter Christina to recruit new believers. Arsen Zagorny, an upstanding Komsomol member and a talented violinist, falls in love with Christina and crosses paths with Zabroda, the leader of the local cell of the cult. Additional problems crop up in the form of Grigori Griva a local boy prone to hooliganism and drink and his buddy Chmykh, a dissolute accordion player. Grigori learns to mend his ways thanks to the guidance of Pavel Fedorovich Varchenko, the wise and patient director of the mine, and Liuda, the Komsomol organizer with whom he falls in love. The film’s title refers to fossilized plants visible on pieces of coal.Read More »