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One of Han Ok-hee’s renowned pieces called The Hole uses the flicker, oblique angles, the cross-cutting of reality and fantasy to express inner entrapment and the desire for liberation. Han Ok-hee’s The Hole, The Rope and Untitled not only experimented with cinematic forms of expression, but also played an important role in the protest against forms of expression in experimental films and the artistic protest against the social suppression and censorship in 1970s Korea. (Art Cinema OFFoff)
The film contains the despair of an artist’s desire for creation on ruthless censorship, rebel, and anxiety in the mid-70s when it was politically and socially depressed.
Lights flicker & fade as focus shifts from artificial to natural light, ending on a second artificial light speeding through the blackened miasma of the night sky.
An ahistorical re-enactment of the strange and curious events that led up to the untimely demise of our nation’s sixteenth president.
“A deadpan video art reworking of 1982's highest-grossing movie, EXTRA TERRESTRIAL peels away layers of sentimental narrative goo from its source, exposing a hard core of anxiety, loneliness and dread. Shifting the focus from character to interior, Ben Russell and Rhyne Piggott mine the landscape of a beige-carpeted ranch style house for new insights into the architecture of suburban alienation.” - Anne Reecer, Cinematexas
'It was in San Francisco at a punk festival. I was already high and the air was so thick in the rooms that you could cut it with a knife. I had a photograph camera with me; I stood in a corner of the entrance hall and took 36 pictures on slide film. At home I put the slides into a slide projector. I took out the lens and filmed the slides by filming directly from the projector - using single frames according to a certain plan.'
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.
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
Life drums the playfulness out of a boy as he grows up.
This is a 1991 documentary film about the legendary artist and filmmaker, Joseph Cornell, who made those magnificent and strange collage boxes. He was also one of our great experimental filmmakers and once apparently made Salvador Dali extremely jealous at a screening of his masterpiece, Rose Hobart. In this film we get to hear people like Susan Sontag, Stan Brakhage, and Tony Curtis talk about their friendships with the artist. It turns out that Curtis was quite a collector and he seemed to have a very deep understanding of what Cornell was doing in his work.
"A deeply beautiful and disturbing split-screen depiction of the contrasting daily routines of sociologist Gilberto Freyre in 1959 (author of The Masters and the Slaves, originator of Lusotropicalism, proponent of racial integration) and Cristóvão, an ordinary housekeeper in 2016." - Angeline Gragásin
The blinking sun on the surface of the river becomes the ranting mouth of god and utters nova scotia into existence.
A bride walks on the desert. She takes off her bridal ornaments and turns into a harlot. A multitude of people crawl on their bellies, become sick and soon die. A volcano erupts. White ashes of lahar cover the earth. The bride remembers her betrothal and repents--symbolically paving the way for the resurrection of her people. A final bridal march into a new heaven and earth takes place.
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With input from actor and writer Jan Hlobil, director and cinematographer Rene Smaal presents a film in the true surrealist tradition, in the sense that only 'found' elements were used, and that it defies interpretation based on ordinary cause-and-effect time sequence.
Shot in the Fire Island Pines during the same summer Poole filmed the first segment of his debut feature film "Boys in the Sand," this short was made in collaboration with the director's close friend and visual artist Ed Parente. The film serves as a visual love letter to Parente's boyfriend Fred, who was often away while the two spent time filming on the island.
An experimental and humorous rainy day romp involving director Wakefield Poole's beloved Warhol Marilyns, his boyfriend Peter Fisk, Julia Child and the kitchen sink (literally and figuratively). The film creates whimsy by incorporating household film footage, pop culture references from TV, and Poole's eclectic and sometimes campy use of music.
Made as part of a Triton Gallery show to publicize the poster art of Canadian artist Vittorio Fiorucci, filmmaker Wakefield Poole cut apart posters and hand-animated the film using his 8mm camera to create stop-motion. The film was combined with dancers, lighting and projections to create an innovative gallery show.
A vehicle of consciousness navigates the vertiginous labyrinths of San Francisco. ROMAN CHARIOT was filmed over several months with a spy camera mounted on filmmaker David Sherman's son's baby carriage.
In the final days of the American Civil War, an emigre Hungarian military officer attempts to map the situation of the enemy. Many veterans of the 1848 War of Independence in Hungary fought on the northern side. Experienced Fiala, Boldogh who struggles with homesickness and the reckless Vereczky all experience their enforced emigration in different ways and news of impending peace elicits different reactions from them all.
