FRAME LINE is a collage film in black and white. Glimpses (both visual and audial) of Stockholm, people, gestures, flags and the Swedish national anthem appear through drawings, paintings and cut-outs. It is a film with an eerie flow between the ugly and the beautiful about returning, about roots and also about reshaping.

“Distilled bits of psyche break from the assemblage to skitter across struggling places seeking niches and forming patterns with careening desperation …. FRAME LINE takes advantage to radically ignore any limits of emotional expression. Without excuses, or so much as even a token glance back, FRAME LINE at once sets standards that put to rest that silly notion ‘the tradition of the Avant-Garde.'” – Rock Ross, Reversal

325MB | 21m 49s | 720×556 | mkv

https://nitro.download/view/6534DF76B2B267D/Frame_Line_(Gunvor_Nelson).mkv

Language:English
Subtitles:None

The post Gunvor Nelson – Frame Line (1983) first appeared on Cinema of the World.

This magnus opus is a domestic symphony from a woman’s point of view, the portait of a grandmother, monther and child and their home. The women and their personal objects are mostly seen alone or relating to one another (except for touching scenes of the grandmonther and grandfather together).
A key aspect of RED SHIFT is the reading of selections from Calamity Jane’s “Diaries”, the most narrative apsect of the film. The Diaries are read against activities seen through a window, life passing by (people walking in winter, a river flowing). They tell how Jane lost her daughter and had to survive by using her talents to act like a tough and physically competitive man…

754MB | 49m 55s | 804×576 | mkv

https://nitro.download/view/C3A9E0E5DD9EC13/Red_Shift_(Gunvor_Nelson).mkv

Language:English
Subtitles:None

The post Gunvor Nelson – Red Shift (1986) first appeared on Cinema of the World.

My Name is Oona captures in haunting, intensely lyrical images fragments of the coming to consciousness of a child girl. A series of extremely brief flashes of her moving through nightlit space or woods in sensuous negative, separated by rapid fades into blackness, burst upon us like a fairy-tale princess, with a late sun only partially outlining her and the animal in silvery filigree against the encroaching darkness; one of the most perfect recent examples of poetic cinema. Throughout the entire film, the girl, compulsively and as if in awe, repeats her name, until it becomes a magic incantation of self-realization.

145MB | 9m 31s | 768×576 | mkv

https://nitro.download/view/86455DDD7DD100C/My_Name_is_Oona_(Gunvor_Nelson_1969).mkv

Language:English
Subtitles:None

The post Gunvor Nelson – My Name Is Oona (1969) first appeared on Cinema of the World.

“Schmeerguntz” is one long raucous belch in the face of the American Home. A society which hides its animal functions beneath a shiny public surface deserves to have such films as Schmeerguntz shown everywhere – in every PTA, every Rotary Club, every club in the land. For it is brash enough, brazen enough and funny enough to purge the soul of every harried American married woman.”
– Ernest Callenbach, Film Quarterly

200MB | 13m 36s | 692×576 | mkv

https://nitro.download/view/0E73C082F30EEEF/Schmeerguntz_(Gunvor_Nelson).mkv

Language:English
Subtitles:None

The post Gunvor Nelson – Schmeerguntz (1965) first appeared on Cinema of the World.

Quote:
The explicit body politics in Gunvor Nelson’s popular Take Off is developed further in her highly personal Moons Pool. The film begins with shots of naked bodies in a bath and transgresses into depicting male and female bodies swimming naked underwater. The latter part of the film is almost totally liberated from speech, and has a dreamlike, complex soundtrack consisting of sounds of waves, voices, water and music woven together into a seamless web of sounds. (John Sundholm)

“Moons Pool” is a masterful and lyrical use of the film medium to portray the search for identity and resolution of self. Photographed under water, live bodies are intercut with natural landscapes creating powerful mood changes and images surfaced from the unconscious. (Freude Bartlet)

Swedish-American artist Gunvor Nelson is among the most important experimental filmmakers of her generation. Shaped by the San Francisco Bay Area scene in the fifties and sixties, she has had an enormous influence on American avant-garde film since her debut in 1965. The basic subjects of her personal, dreamlike and tactile filmmaking are: childhood, memory, the idea of home/homeland and displacement, aging and death, the female body, the material beauty of natural forces. Gunvor Nelson is one of the few Swedish artists who have been honoured with a retrospective at MOMA in New York (2006).

1.36GB | 15m 12s | 1440×1080 | mkv

https://nitro.download/view/EFDAB3050A15390/Moons.Pool.1973.1080p.AMZN.WEB-DL.DD+2.0.x264-Cinefeel.mkv

Language:English
Subtitles:None

The post Gunvor Nelson – Moons Pool (1973) first appeared on Cinema of the World.

Kirsa Nicholina records the birth of a child at home by the Lamaze method. The father assists in the birth, while a physician guides him. At the moment of birth, the mother reaches down and grasps the hand of the emerging child and guides it out of her body and into her arms.

Amos Vogel wrote:
An almost classic manifesto of the new sensibility, it constitutes a proud affirmation of man amidst technology, genocide, and ecological destruction. Birth is presented not as an antiseptic, ‘medical’ experience, but as the living-through of a primitive mystery, a spiritual celebration, a rite of passage. True to the new sensibility, it does not aggressivley proselytize but conveys its ideology by force of example… Quiet guitar music (composed by the father) accompanies the poetic, tactile images, unobtrusively recorded by the detached camera; no avant-garde pyrotechnics interfere with the intentional simplicity of the statement.

672MB | 1h 24m | 720×428 | mkv

https://nitro.download/view/A511373BDB9607E/KIRSA_NICHOLINA.mkv

Language:English
Subtitles:None

The post Gunvor Nelson – Kirsa Nicholina (1969) first appeared on Cinema of the World.

LIGHT YEARS is a collage film and a journey through the Swedish landscape, traversing stellar distances in units of 5878 trillion miles. It is a film acutely in the present reflecting our temporal existence … continuous and imperfect.

“LIGHT YEARS continues to develop the concerns and techniques begun in her earlier film FRAME LINE. In LIGHT YEARS Nelson blends collage animation with highly textured live-action material to create a haunting evocation of her displacement from her native Swedish culture. Particularly striking is her use of wet ink on glass to create a constantly shifting image of a path leading to a house. With these passages of the house and moving images of the Swedish landscape as threads, LIGHT YEARS becomes a tapestry of change as experienced through constant motion. It is a personal reflection on the filmmaker’s memories of her past.

“The film is so filled with visual ideas that Gunvor Nelson has extended the film’s themes and techniques in her subsequent effort LIGHT YEARS EXPANDING. All her recent films suggest that while the distance of time makes home further, the intensity of memory makes it richer.” – Parabola

386MB | 25m 57s | 720×552 | mkv

https://nitro.download/view/C330C41A76C51DE/Light_Years_(Gunvor_Nelson).mkv

Language(s):Some swedish on the soundtrack, most likely snippets of some radio programme
Subtitles:None

The post Gunvor Nelson – Light years (1986) first appeared on Cinema of the World.