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.
On the Clickity-clack Express it's clear I'm always under duress, unless I forget.
Radical recurrences & rancorous requests raze my daze.
Onward, upward, greener [redder] grasstures.
Locked away but not away; somewhere nearby but unreachable, a periphery so notfaroff it's always in sight.
Hiding inside&out, writhing about, taken out&in.
(Some of us) Still run down the same [mental&emotional] streets we revered/reproached/replaced as children.
Return to 'burn' only to find out you're already in that urn.
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.
Two men. Friends? Enemies? Lovers? Brothers? One is nothing, success or failure depends on two.
A psychedelic montage of home movie footage gives way to a silent western story.
1 minute experimental film.
A 'reversal' of Jean-Léon Gérôme's 1872 painting Pollice Verso.
Beyond all human restraint lies one's lugubrious layers of paint.
As a family struggles to survive in rural isolation during the Great Depression, their daughter's secret affair begins a journey into the unknown.
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.
In 1967, experimental filmmaker Jorgen Leth created a striking short film, The Perfect Human, starring a man and women sitting in a box while a narrator poses questions about their relationship and humanity. Years later, Danish director Lars von Trier made a deal with Leth to remake his film five times, each under a different set of circumstances and with von Trier's strictly prescribed rules. As Leth completes each challenge, von Trier creates increasingly further elaborate stipulations.
Lucien Bull was a pioneer in chronophotography. Chronophotography is defined as "a set of photographs of a moving object, taken for the purpose of recording and exhibiting successive phases of motion."
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