On the Clickity-clack Express it's clear I'm always under duress, unless I forget.
No Cast found.
Trailer
A 'reversal' of Jean-Léon Gérôme's 1872 painting Pollice Verso.
Hiding inside&out, writhing about, taken out&in.
Radical recurrences & rancorous requests raze my daze.
Onward, upward, greener [redder] grasstures.
Shadows frighten what one oughtn't be gripping (that thing before/hind you).
I really hope this is well-received. I really hope there's some sort of reprieve.
Rather pointless, rather stilted, fetid; not what we want us going after.
(Some of us) Still run down the same [mental&emotional] streets we revered/reproached/replaced as children.
Two men. Friends? Enemies? Lovers? Brothers? One is nothing, success or failure depends on two.
As a family struggles to survive in rural isolation during the Great Depression, their daughter's secret affair begins a journey into the unknown.
Locked away but not away; somewhere nearby but unreachable, a periphery so notfaroff it's always in sight.
A psychedelic montage of home movie footage gives way to a silent western story.
1 minute experimental film.
From a small cabin in the mountains of New York, Nina Breeder and Massimilian Breeder begin a journey across the United States. California is just the initial destination, but just as the edge of the surrounding landscape expands, so does their ultimate destination. A contemplation of nature and time along a raw journey in the American landscape.
Beyond all human restraint lies one's lugubrious layers of paint.
Return to 'burn' only to find out you're already in that urn.
Shot in the abandoned buildings of Gary, Indiana and the cornfields of Western Illinois, The Twenty-One Lives of Billy the Kid presents a fractured historical narrative without any real protagonist, one in which the titular character goes mostly unseen - Billy the Kid as the always-off-screen assailant, as a ghost’s laugh, as a shadow on the road.
No overview available.
With input from actor and writer Jan Hlobil, director and cinematographer Rene Smaal presents a film in the true surrealist tradition, in the sense that only 'found' elements were used, and that it defies interpretation based on ordinary cause-and-effect time sequence.
Lars von Trier challenges his mentor, filmmaker Jørgen Leth, to remake Leth’s 1967 short film The Perfect Human five times, each with a different set of bizarre and challenging rules.
