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The second part: Brakhage’s layering of images spends less time with images of war, and begins filtering in scenes of Vienna and his home in Colorado. He sets up a comparison between “Kubelka’s Vienna” and his own.
The quasi-fictional story of transgender sex workers living in Rio de Janeiro's swampy red light district, who are joined by a group of hippies and a runaway stockbroker, "Mangue-Bangue" is the paradigmatic expression of the post-1968 spirit of desbunde, the Brazilian slang catchword for "sex, drugs, and rock 'n' roll".
6-18-67 is a short quasi-documentary film by George Lucas regarding the making of the Columbia film “Mackenna's Gold”. This non-story, non-character visual tone poem is made up of nature imagery, time-lapse photography, and the subtle sounds of the Arizona desert.
A cameraman wanders around with a camera slung over his shoulder, documenting urban life with dazzling inventiveness.
ISLANDS explores a cinematic journey of two astronauts. As they enter Earth’s atmosphere the structure transforms. The spacecraft becomes the meteor from a myth of a tribesman; it triggers an old lady’s memory of a lover from her past. As these diverse characters converge in a plane of reality, we confront a particular form of gravity we covertly feel—falling in love.
Avant-garde composer John Cage is famous for his experimental pieces and "chance music" but temporarily branched into video in 1992 with this art film about meaningless activity. The work is composed of two segments that are supposed to be played simultaneously: "One 11" contains the artistic statement, and "103" is a 17-part orchestral piece. Also included is a revealing documentary about Cage and director Henning Lohner.
Basically an artist is also a terrorist, the protagonist thinks in an unguarded moment. And if he is a terrorist after all, then he might just as well be one. Not an instant product, but an experimental feature in which diary material is brought together to form an intriguing puzzle.
A day in the city of Berlin, which experienced an industrial boom in the 1920s, and still provides an insight into the living and working conditions at that time. Germany had just recovered a little from the worst consequences of the First World War, the great economic crisis was still a few years away and Hitler was not yet an issue at the time.
A 'reversal' of Jean-Léon Gérôme's 1872 painting Pollice Verso.
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WHAT YOU MEAN WE is a surreal short film by experimental artist Laurie Anderson.
A personal, subjective journey into the mind of Greta Thunberg, before realizing her calling as a climate activist. While struggling with mental health issues and bullying because of her Aspergers, she also grapples with the sense of impending doom due to the climate crisis. These same struggles and fears drive her to make change and become the person she is today.
Adachi's follow-up to Bowl using the figure of a woman suffering from an unusual sexual aliment has often been taken as a controversial allegory for the political stalemate of the Leftist student movement after their impressive wave of massive fiery protests failed to defeat the neo-imperialist Japan-US Security Treaty. The ritualistic solemnity of the charged sexual scenes contribute to the oneiric qualities of Closed Vagina which Adachi would later insist was an open work, not meant to deliver any kind of deliberate political message. - Harvard Film Archive
A quasi-sequel to Michel Houellebecq's novel The Possibility of an Island, Masbedo's short presents a post-apocalyptic landscape overseen by a distant mother nature or perhaps mother of nature portrayed by French icon Juliette Binoche.
Life drums the playfulness out of a boy as he grows up.
"Good-bye G.O.D." was a play written specially for Jack Birkett, 'The INCREDIBLE ORLANDO', to be performed with its author, composer Carlos Miranda. Conceived as a future-fantasy Music Hall operetta, "Good-bye G.O.D." tells the story of General Orson Davis, (known as G.O.D.), one of the heads of the Confederated Armies of the Northern Hemisphere, who have concocted a mass destruction of the world. Sheltered in a bunker in the North Pole, he and his henchmen have saved a chosen team of scientists impelled to work on the vessel that will enable them to eventually evacuate the planet. But he has a secret passion which he will indulge once he encounters Adam, one of his scientists.
Using both found footage and her own material, Nina Fonoroff recollects the memory of her father. Constructing and deconstructing a portrait, she weaves family and friends’ remembrances with an inquiry into her own work process. Her searching attitude suggests that with the loss of her father came a question of the role, not of a particular father, but the father figure—a refusal of authority, and an appreciation of her father’s cycles of learning, teaching, learning. As Danny Kaye, playing Hans Christian Andersen, tells a group of children the story of the piece of chalk that saw itself as a the source, not the transmitter of knowledge, one senses Fonoroff’s sorrow at the loss inherent in the film image, and a yearning for the source of the image, not just its projection.
A series of loosely related sequences representing a wandering train of thought.
In 1919 an art school opened in Germany that would change the world forever. It was called the Bauhaus. A century later, its radical thinking still shapes our lives today. Bauhaus 100 is the story of Walter Gropius, architect and founder of the Bauhaus, and the teachers and students he gathered to form this influential school. Traumatised by his experiences during the Great War, and determined that technology should never again be used for destruction, Gropius decided to reinvent the way art and design were taught. At the Bauhaus, all the disciplines would come together to create the buildings of the future, and define a new way of living in the modern world.
