Adios amigo mío, sin gestos, sin palabras

Oct 14, 2015

0h 13m

★ 0.0

Overview

The title comes from Sergei Yesenin's last poem before comiting suicide. Using Virginia Woolf's last letters as a base, this film is meditation on the power of the word and its undertsanding and the the last moments before saying "goodbye".

Genres

Documentary

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Cast

Eduardo Molina Cantó

Amparo Noguera

In the fall of 1967, intermedia artists Ture Sjölander and Lars Weck collaborated with Bengt Modin, video engineer of the Swedish Broadcasting Corporation in Stockholm, to produce an experimental program called Monument. It was broadcast in January, 1968, and subsequently has been seen throughout Europe, Asia, and the United States. Apart from the technical aspect of the project, their intention was to develop a widened consciousness of the communi - cative process inherent in visual images. They selected as source material the "monuments" of world culture— images of famous persons and paintings.

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3.5

Naran Ja

Oct 26, 2012

After being invited by Benjamin Millepied to a rehearsal for the L.A Dance Project's premiere performance, Oscar-nominated director Alejandro G. Iñárritu was inspired to make a video-exercise that documents movement and dance in an experimental way, with a stream of consciousness narrative. The story takes place in a secluded, dusty space and centers around LADP dancer Julia Eichten who seems to be on an eternal search... for herself.

6.2

Histoire(s) du Cinéma 1a: All the (Hi)stories

Nov 16, 1989

A very personal look at the history of cinema directed, written and edited by Jean-Luc Godard in his Swiss residence in Rolle for ten years (1988-98); a monumental collage, constructed from film fragments, texts and quotations, photos and paintings, music and sound, and diverse readings; a critical, beautiful and melancholic vision of cinematographic art.

8.0

Delimitation

Jun 20, 2021

A dancer moving through a city seeking a space in which to exist.

6.1

Vampir Cuadecuc

May 5, 1972

An atmospheric essay, which is an alternative version of Count Dracula, a film directed by Jess Franco in 1970; a ghostly narration between fiction and reality.

5.9

Very Nice, Very Nice

Jan 1, 1961

Arthur Lipsett's first film is an avant-garde blend of photography and sound. It looks behind the business-as-usual face we put on life and shows anxieties we want to forget. It is made of dozens of pictures that seem familiar, with fragments of speech heard in passing and, between times, a voice saying, "Very nice, very nice." The film was nominated for an Oscar for Best Live Action Short Film.

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5.0

Maya Deren, Take Zero

Jan 30, 2012

This documentary interweaves celluloid and voice recordings by Maya Deren, and colleagues who knew her firsthand: Jean Rouch, Jonas Mekas, Alexander Hammid, Cecile Starr etc. Maya Deren (1917-1961) was an experimental filmmaker. In the 1940s and 1950s she made several influential avant-garde films, such as Meshes of the Afternoon (1943). Images from this and her other work are used in this documentary. You can also hear her voice, as well as accounts by contemporaries such as Jean Rouch and Jonas Mekas.

3.5

Fencing

Jan 1, 1892

Early Edison short showing two men fencing.

3.5

A Hand Shake

Jan 1, 1892

William K.L. Dickson and William Heise shake hands in this early experimental film.

0.0

Arquivos Kino-Pop

May 14, 2019

Cine-diaries about rock bands and personalities from the eighties from the archives of Edgar Pêra.

0.0

Erna

Jan 1, 1963

A two-minute poetic micro-manifesto of ecological and social warning about the endangerment of people and the world's nature in the 1960s.

6.6

Elegy

May 19, 1966

Often called a “film poem” or a “film symphonie” Huszárik’s masterpiece consists of montages of horses from the dawn of time to the modern times from cave paintings to horse races.

6.8

The Cut-Ups

Jan 1, 1966

Essentially a dizzying montage of quirky shots of legendary Beat Generation writer William S. Burroughs and noted surrealist artist Brion Gysin, this nearly 20 minute avant-garde short features repeated articulations of such random things as "Hello," "Where are we now?," and "Look at that picture" instead of music or standard dialogue. The narrative is decidedly nonlinear and perplexing, with no discernible plot whatsoever as we see images of Gysin working on his paintings and calligraphic designs and Burroughs rummaging through draws, packing a suitcase, giving a young man a physical, making a call in a phone booth, and waiting on a platform for a subway train.

0.0

All Inclusive

Jun 1, 2024

A story of seven women who are going on holidays to Morocco, getting out of the hotel and confronting women from Morocco. They will look for their own way of life in the desert, confront their world, looking at the reality that surrounds them.

4.9

T.G.: Psychic Rally in Heaven

Dec 31, 1981

An experimental film of the group Throbbing Gristle in concert.

6.8

Emak-Bakia

Jul 26, 1926

Emak-Bakia (Basque for Leave me alone) is a 1926 film directed by Man Ray. Subtitled as a cinépoéme, it features many techniques Man Ray used in his still photography (for which he is better known), including Rayographs, double exposure, soft focus and ambiguous features. The film features sculptures by Pablo Picasso, and some of Man Ray's mathematical objects both still and animated using a stop motion technique.

5.9

Glitterbug

Mar 5, 1994

A collage of Derek Jarman's super 8 footage spanning over 20 years.

6.7

Water-Mirror of Granada

Jan 1, 1955

Experimental, cinematic symphony of Granada, José Val del Omar's birthplace.

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6.3

Ciel Terre Ciel

Oct 13, 2009

Part of the collective film OUTRAGE & REBELLION & inspired by the police repression of a protest in Montreuil where Joachim Gatti lost one of his eyes. CIEL TERRE CIEL can be defined as the poetic identification of this loss.

5.6

Meditation on Violence

Apr 24, 1949

Chao-Li Chi shadow boxes indoors and practices with a sword outdoors. Theoretically, the film describes in a single continuous movement three degrees of traditional Chinese boxing, Wu-tang, Shao-lin, and Shao-lin with a sword. A long sequence of the ballet-like, sinuous Wu-tang becomes the more erratic Shao-lin; in the middle, there is an abrupt change to leaping sword movements, in the center of which, at the apogee of the leap, there is a long held freeze-frame.

Adios amigo mío, sin gestos, sin palabras

Overview

Genres

Adios amigo mío, sin gestos, sin palabras Trailers