A small portrait of the volatility of intimacy and of breaking free from abusive cycles: made in response to a year of collapsing relationships and violent accidents that left me broken, dislocated and stuck in my apartment.
This film describes a psychological state "kin to moonstruck, its images emblems (not quite symbols) of suspension-of-self within consciousness and then that feeling of falling away from conscious thought. The film can only be said to describe or be emblematic of this state because I cannot imagine symbolizing or otherwise representing an equivalent of thoughtlessness itself. Thus the actors in the film, Jane Brakhage, Tom and Gloria Bartek, Williams Burroughs, Allen Ginsberg, Peter Olovsky and Phillip Whalen are figments of this 'Thought-Fallen Process', as are their images in the film to find themselves being photographed."
From the re-appropriation of archive images with various contents (war images, soccer matches, social celebrations, religious rites, historical characters, etc.) and from different sources (including films by Chris Marker, Alain Resnais, Leni Riefenstahl or Gianikian and Ricci Lucchi, as well as images from ads and news...), together with reflections of Pierre Bourdieu, Zygmunt Bauman, Bertolt Brecht, Hannah Arendt, Stanley Milgram, Eric Hobsbawn, Amin Maalouf, Josep Fontana, etc., Zavan Films producer develops this complex and kaleidoscopic work on (national, religious, commercial...) identities and their relation with war, economic profit and "legal crimes".
A film in which the one 60-story skyscraper that soars in the spaces between roofs spins with incredible speed. I centered the circumference with its 400 or 500 meter radius on the skyscraper and divided it into 48 sections, then took photographs from those spots and shot the photographs frame by frame.
An eight-hour contemplative epic, entirely starring sheep.
The reception ebbs and flows as the unfamiliar landscape whirls by the window of a plane or train or car. Communication is delayed, fragmented, interrupted. Memories of a distant country.
An experience of a camera swinging in different gestures facing the optical distortion of the Sun. The last appearance of the smudge.
In 1952, Haanstra made Panta Rhei , another view of Holland through the eyes of a painter and filmmaker. Its poetic images of water, skies and clouds reflect Haanstra's own moods.
Man Ray, the master of experimental and fashion photography was also a painter, a filmmaker, a poet, an essayist, a philosopher, and a leader of American modernism. Known for documenting the cultural elite living in France, Man Ray spent much of his time fighting the formal constraints of the visual arts. Ray’s life and art were always provocative, engaging, and challenging.
Short experimental 16mm film.
An experimental film about that one hypnotic moment on a regular, unassuming Tuesday when one realizes that time has stopped and the universe has been sucked into a single smile.
Shot in two places marrying with each other by a single and fractured bridge between Condrieu and les Roches-de-Condrieu, this film is the continuation of exploring ephemeral movement through the use of editing, camera movements and color sampling.
For us, a thought always presupposes a society, a culture and above all the consciousness of time. We are haunted by immortality, human notion par excellence. As if the world was here to fascinate us. And to disappoint us. The film travels around the bulb like the Earth around the Sun. Light makes the film visible. A fragile film, like our existence. In the orbit of the film tragedy and our reality, the image resists the cruelty of the experiment.
'The angle of the world allows us to see the real as an outer and inner presence at the same time, an opaque otherness, yet capable of becoming an intimate space. These incommensurable lengths and distances of an interior that opens up: The mysterious movement of the clouds, the cadence of the waves against the light, or the silent slippage of a barely identifiable human silhouette, everything seems transfigured, derealized and reinvented by light in a poetic world that evokes the paintings of Turner or Friedrich, the writings of Poe or Baudelaire.’ — Violeta Salvatierra
A cameraman wanders around with a camera slung over his shoulder, documenting urban life with dazzling inventiveness.
This is a film made in Toronto, in memoriam, so to speak - a memory piece, a "piecing-together" of the experience of living there. The consciousness of the maker comes to sharply focused visual music - not to arrive at snapshots, as such, but rather to "sing" the city as remembered from daily living...complementary, then, to an earlier film, "Unconscious London Strata." Preserved by the Academy Film Archive in 2015.
Pun on "light" intended - that short preceding expulsion of breath perhaps the "subject matter" of this film which centers in consideration of death. It is the third tone poem film and did much surprise me by thus completing a trilogy of the "4 classical Elements." (SB)
After a six -or seven- year study of Hammurabi's Code, original Babylonian Text and translation, I've tried to feel my way into the moving visual thought process of this ancient culture (whose numerical system is composed primarily of building materials, nails, joints and the like): this, then, is a visual music which balances the two thought processes of Structure and Nature.