A reality show star leaves her family's TV show fame and unknowingly joins a supernatural cult.
Luz Marina
Carlos
Santana
Antonieta
Karina
The first experimental dance film from Croatia, which pays homage to the pioneer of experimental and dance film Maya Deren and her "Study in Choreography for Camera" from 1945. The theme of the film is inspired by a composition by Ivo Malec "Miniatures for Lewis Carroll", and the dance is performed by the members of the Studio for Contemporary Dance who, in black suits and white surroundings, seem to float in the space captured by the eye of the camera.
Experimental short film that explores the feelings of 17-year-old Li Xia who searches for purpose and intimacy while trapped in Diyu, or "hell" in Chinese mythology.
A man invites a woman to share his room in a hostel and gradually falls in love with her.
Visiting the famous Anasazi cliff dwellings in Colorado, abandoned about 1275, Brakhage thought, "There is terror here." And so he returns again and again to those empty stone homes.
This film, photographed in London, is an exploration into the depths of unconscious reactions.
The film begins with a series of horizontally running ocean tide waves, sometimes with mountains in the background, hand-painted patterns, sometimes step-printed hand-painting, abstractions composed of distorted (jammed) TV shapes in shades of blue with occasional red, refractions of light within the camera lens, sometimes mixed with reflections of water. Increasingly closer images of water, and of light reflected off water, as well as of bursts of fire, intersperse the long shots, the seascapes and all the other interwoven imagery. Eventually a distant volleyball arcs across the sky: this is closely followed by, and interspersed with, silhouettes of a young man and woman in the sea, which leads to some extremely out-of-focus images from a front car window, an opening between soft-focus trees, a clearing. Carved wooden teeth suddenly sweep across the frame. Then the film ends on some soft-focus horizon lines, foregrounded by ocean.
This film is entirely hand-painted and is composed of such an evolution of variably colored shapes that their inter-action with each other should constitute a purely visual "self-evident" (as prompted by the title). Each frame is printed twice, so that its effective speed (at 24fps) is 12 frames per second. A variety of organic and crystalline painted shapes (painted on clear leader, thus as if brilliantly back-lit in a blazing space of light) are interspersed with very dark (black leader) passages as if etched with scratches of light and stained radiances. There are also some straight, multi-colored, bars which move, diagonally from one side of the film frame to the other. All these "themes" finally give way to clear thick gelatinous effects which resolve themselves in a long passage of hieroglyphic white shapes in a black field, ending on a brief spate of variable coloration.
A dialogue of forms, colours and movements follow a rhythm which is both plastic and musical.
Based on abstract images by Kamler, Andre Voisin and Francois Bayle imagined the story of a messenger charged to bring to our planet the key to a forgotten wisdom.
Lumiere's The Arrival Of A Train in Russian.
Nina is 35 years old; her husband is 53. She loves him so much that she longs to have a child with him... Max also loves her. He is even flattered that Nina is very jealous, but he does not want a child because he is afraid that the child will call him grandpa... The real reason for the conflict is that Max will soon be killed and only he knows that fact. The film is a reflection of the emotions and experiences of two lovers, inspired by real events that happened in a provincial town in 2007.
Originally commissioned by an Austrian couple in 1961 to photograph a travel diary documenting their wild game hunt, Kubelka shot three hours of film and recorded fourteen hours of audio. Over the next few years, Kubelka toiled in the editing bay, producing a work charged with intricate, ironic brutality.
One of two animation loops directed by Max Hattler, inspired by the work of French outsider artist Augustin Lesage (1876-1954). Based on Lesage's painting A Symbolic Composition of the Spiritual World from 1923.
Scenes from a found roll of martial arts movie footage is unspooled past a video camera on a light table, stopping and starting to pick out parts of the narrative. The archly formal play of fights, betrayal, dishonour and ruined friendships is accompanied by ambient sounds of a city going about its routine business outside.
A cri de coeur against Iraq War I from writer-director John Gianvito (Profit Motive and the Whispering Wind).
Two criminals take a trip up the coast of California. As they arrive at a small town- what should just be a small stop on the way- one of them begins to feel as though they've been their before.
The filmmaker sends the viewers off to sleep with this 9minute descent into the netherworld.
Two ballet dancers perform a dance enhanced with surreal after-image visuals.
Animated shapes dance to Cuban music. This was one of the first animations to be painted directly onto the film.
In the age of surgically enhanced beauty and reality television, how do we perceive body image? MADE OVER IN AMERICA combines the style of reality television with experimental film to weave together the voices of producers and consumers, surgeons and their patients, clinical psychologists, media theorists, and youth who are coming of age in a culture where bodies seem to be customizable. Together they form a picture of how the desire for a better self operates within consumer culture and how this desire is fed by media, the makeover industry and culture at large.
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