Nipodocumentário Demo

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Harmonica

Arguably Larry Gottheim’s most exuberant experiment in the single-shot, single-roll format (and his first with a soundtrack), HARMONICA trains the camera on a friend improvising a tune in the backseat of a moving car. Held out the window, the harmonica becomes a musical conduit for the wind, while Gottheim's film transforms before our eyes into a playful meditation on wrangling the natural elements into art. - Max Goldberg

⭐ 6.0🤍

Four Shadows

Four four-minute image sections and four four-minute sound sections are linked in all combinations of the sound sections with each of the image sections. This established affinities between each of the image sections to the others, and the sound sections to each other. The image sections are: surveyors measuring the land near my house as seen through an old window, a family of Siamang Gibbon apes in the Washington zoo, an industrial site, and a page turned from a book on Cézanne’s composition showing a diagram of his painting Mardi Gras, filmed against bright leaves. The sound sections are: a dramatic scene from Debussy’s opera “Pelléas et Mélisande”, a passage from William Wordworth’s autobiographical poem “The Prelude,” sounds from rowing on a lake at night, and the sounds of the apes vocalizing.

⭐ 7.0🤍

Horizons

Working with Virgil’s four-part poem “Georgics” and Antonio Vivaldi’s concertos “The Four Seasons” as models, Gottheim arranged his painterly compositions into four distinct sections, each edited according to its own exacting pattern. The seasonal flux thus informs both the form and content of the image, with the basic elements of trees, sky, hills and the occasional crisscrossing clothesline filmed in every imaginable light.

⭐ 8.5🤍

Grand Entrance to the World of the Dead

Radical recurrences & rancorous requests raze my daze.

⭐ 10.0🤍

I Might Be There (I Won't)

Onward, upward, greener [redder] grasstures.

⭐ 10.0🤍

Bullet in the Head

Ion is a seemingly normal guy whose life goes by without a hitch. A phone call; a meeting with a friend; small, unimportant everyday situations. One day he gets into a car with two other people. They cross the border between Spain and France. The next morning, their lives will change forever.

⭐ 4.5🤍

Trapline

Ellie Epp’s 12-shot study of a soon-to-be-demolished public bath in London, which “maps another way out of structural film toward a cinema of delicate implication".

⭐ 6.0🤍

Always on Time, Always Outta Line

Running up that [mountainous-outcropping] because there is none of this that's stopping.

⭐ 10.0🤍

Self-Organization of Biological Systems

The pantomime of two characters exchanging roles is accompanied by a three-layered phonogram, where sophisticated narrative text is interrupted by slightly accelerated excerpt from Brezhnev’s speeches, as well as by fragments of statements of the mentally ill person with the schizophasia symptom.

⭐ 0.0🤍

Drug Porn

An experimental documentary about the spectacle of substance abuse on social media. More than 45 hours of footage, hundreds of pages of blog posts and interviews were distilled and remixed using glitch and cut-up techniques to insure anonymity, transcend the shock factor and unfold this complex, singular and stratified use of social media.

⭐ 10.0🤍

Viral

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).

⭐ 0.0🤍

Yoga Nouveau

The evolution of mainstream pornography’s extremities and the early days of pay-per-view channels' noise.

⭐ 0.0🤍

Hideo, It's Me, Mama

HIDEO, It's Me, Mama is a psychological melodrama that introduces narrative and structural devices that are integral to Idemitsu's work. Exploring the flawed universe of the contemporary Japanese family, she focuses on a woman's identity as mother through mother-child and husband-wife relationships. Hideo, a young man living away from his parents, is kept under constant surveillance by his doting mother via an omnipresent television monitor. In a cogent metaphor for familial relations in the media-saturated culture of contemporary Japan, Mama can only communicate with her beloved, absent son through the video screen. Idemitsu's poignant irony is embodied in the scene in which Mama, blind to her husband's needs, caresses Hideo's video image. (Electronic Arts Intermix)

⭐ 0.0🤍

Firing Flares @ Unnoticed Glares

Shadows frighten what one oughtn't be gripping (that thing before/hind you).

⭐ 10.0🤍

Hope This Goes Over Well/Living in an Empty World

I really hope this is well-received. I really hope there's some sort of reprieve.

⭐ 10.0🤍

No(thing) Staring Back

On the Clickity-clack Express it's clear I'm always under duress, unless I forget.

⭐ 10.0🤍

Defies All Time & Logic

Remembrances past, remind me to pass.

⭐ 10.0🤍