Social & External
Doodles keep dripping down from the mouth of an idiot.
James Sumner directs and animates the entire Dirty Projectors’ The Getty Address.
In this surrealist vignette-based film, a goldfish makes conversation with various objects. A TV becomes a writer, a triangle learns it is not a hexagon, and a goldfish sees themself without an audience. // \ / \ \\ \ / \ / /\/ /// \ / \ \\ \ / \ / /\/ /// \ / \ \\ \ / \ / /\/ /
Other than the ocean, the rest of the planet was bathed in purple, which was due to the colour of the vegetation. The change in the sun’s radiation had probably caused the plants to evolve as they adapted to the new light.
A take it or leave it auteur-experimental fiction exercise: two women are monitoring their dreams, dreams that may of course also be stark naked reality, at least to the dreamers, as they come and they go like bubbles, rising, floating, bursting. A man appears out of nowhere. Poet Peter Laugesen co-wrote the script with Tom Elling, who was Lars von Trier's director of photography on "The Element of Crime".
A meditative journey, using and manipulating archival silent film footage, that investigates the look of the "New Woman" in Chinese silent screen.
The second in Larry Gottheim's ELECTIVE AFFINITIES cycle, MOUCHES VOLANTES is, in the filmmaker's own words, "a celebration of elusive relationships" between sound and image, color and black-and-white, the moon and the waves, the aural testimony of Blind Willie Johnson's widow Angelina and the camera's illumination of a world simultaneously of and beyond the everyday. These lyrical fragments sweep in and out as with the tides; a time-based symmetry slowly emerges as the film reveals itself to be a perfect circle.
Sequence of five shots, each one with a particular color treatment, in which a man carrying a machine gun runs. He moves fast in the beginning but, as the end comes closer, he starts to walk in zigzag. Is he hurt?
Man With a Movie Camera: The Global Remake is a participatory video shot by people around the world who are invited to record images interpreting the original script of Vertov’s Man With A Movie Camera and upload them to this site. Software developed specifically for this project archives, sequences and streams the submissions as a film. Anyone can upload footage. When the work streams your contribution becomes part of a worldwide montage, in Vertov’s terms the “decoding of life as it is”.
Made on a wind-up Bolex camera, The Sound of Seeing announced the arrival of 21-year-old filmmaker Tony Williams. Based around a painter and a composer wandering the city (and beyond), the film meshes music and imagery to show the duo taking inspiration from their surroundings.
A young model falls victim to a sadistic cult of sexual slavery, snuff tapes and black magic.
A thrillingly lo-fi salute to the old-school, hand-crafted special effects that were once a mainstay of pre-CGI science-fiction films.
"Filmed in 16mm and hand processed in a week at Phil Hoffman's Film Farm in Canada, this film was a treasure map to lead my husband to his gift, a little pet pig." — Helen Hill
It started with filming the tree. Something was released in that manner of filming seemingly farthest removed from the procedure of the early films. I first thought a simple ordering of this rich material might be enough, something related to BARN RUSHES [...] But the film only came into its form-life with the idea of linking this deep-rooted and far-outreaching tree material with that film on paranoia that had fascinated me for many years. –L. G.
Eye candy as a special treat. Let Your Light Shine is the ultimate Spectrum Short film, a photokinetic stroboscopic spectacle for spectacles. A work in the tradition of the absolute animation film of the 1930s, which requires prismatic glasses to achieve the maximum result.
Three screams in a mental system composed of barbed wire and napalm. A plastic tank encloses the geometry of a sex. Outside is a corrupt clue. Incisions are the incantation of melancholy. No way out. (Industrial drone improvised on improvised images, deficient results).
The evolution of mainstream pornography’s extremities and the early days of pay-per-view channels' noise.
A young woman, injured and alone, desperately seeks refuge in an empty house before finding an abandoned train car. Haunted by surreal visions, she repeatedly collapses. At dawn, her motionless form draws the curiosity of local children, leaving her fate uncertain.
Letters from a Window is clearly structured. On the visual level it consists solely of paused film frames, hard cuts of different lengths. The stunning, rapidly changing images appear like brief impressions of a world that has been brought to its knees by a faceless power. The views of people, places, and objects constantly change. On the sound level, in counterpoint to the staccato of the dystopian flood of images, we hear a warm, calm woman’s voice, lovingly and wistfully addressing one “N.”, who might be a man or a woman, in a continuous flow of words. She refers directly to the images, as if she could see them at the cinematic window as she speaks.
