Radical recurrences & rancorous requests raze my daze.
Social & External
(Some of us) Still run down the same [mental&emotional] streets we revered/reproached/replaced as children.
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.
Hiding inside&out, writhing about, taken out&in.
Two men. Friends? Enemies? Lovers? Brothers? One is nothing, success or failure depends on two.
A 'reversal' of Jean-Léon Gérôme's 1872 painting Pollice Verso.
Locked away but not away; somewhere nearby but unreachable, a periphery so notfaroff it's always in sight.
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.
A psychedelic montage of home movie footage gives way to a silent western story.
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).
Rather pointless, rather stilted, fetid; not what we want us going after.
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.
Return to 'burn' only to find out you're already in that urn.
1 minute experimental film.
Onward, upward, greener [redder] grasstures.
I really hope this is well-received. I really hope there's some sort of reprieve.
This is the only feature directed by the famed French painter and sculptor Martial Raysse. In keeping with the revolutionary spirit of the time, the movie has no plot to speak of and appears to have been largely made up on the spot. We follow the cat man into a bizarre fantasy universe presented in negative exposure that reverses color values (black is white and vice versa) and written words. The cat man steals a car and then picks up a young girl he promises to take to “Heaven.” Heaven turns out to be a country chateau inhabited by several more animal mask wearing weirdoes...
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.
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