I really hope this is well-received. I really hope there's some sort of reprieve.
Trailer
Rather pointless, rather stilted, fetid; not what we want us going after.
Return to 'burn' only to find out you're already in that urn.
(Some of us) Still run down the same [mental&emotional] streets we revered/reproached/replaced as children.
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.
On the Clickity-clack Express it's clear I'm always under duress, unless I forget.
Shadows frighten what one oughtn't be gripping (that thing before/hind you).
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.
As a family struggles to survive in rural isolation during the Great Depression, their daughter's secret affair begins a journey into the unknown.
Beyond all human restraint lies one's lugubrious layers of paint.
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.
Part of a collection of restored early works by Nam June Paik, the haunting Beatles Electronique reveals Paik's engagement with manipulation of pop icons and electronic images. Snippets of footage from A Hard Day's Night are countered with Paik's early electronic processing.
Working with Virgil’s four-part poem “Georgics” and Antonio Vivaldi’s concertos “The Four Seasons” as models, Gottheim arranged his painterly compositions into four distinct sections, each edited according to its own exacting pattern. The seasonal flux thus informs both the form and content of the image, with the basic elements of trees, sky, hills and the occasional crisscrossing clothesline filmed in every imaginable light.
No Cast found.
