In continuous motion with no end or barrier in its way.
Social & External
Anything that complies with standards is a wasted effort to Vlado Kristl: 'I believe in only doing those things that decompose and tear conventional systems apart.' Kristl's métier are borderlines. His paintings and animated films are interspersed with clear dividing lines, only for him to blur and mess them up. His graphics are scribbled over and over again until the whole surface becomes black. His oil paintings, unless someone buys them in time, are painted over and over again. He destroys any form that begins to grow. -Thomas Brandlmeier
An experimental and poetic portrait of a woman.
Two women in a living room: smoking, playing cards, listening to the radio. As often in Dwoskin’s films, the use of masks, make-up and costumes allows the characters to playfully transform themselves. Shot in colour film, C-film exuberates swinging London energy. In the second part of the film, the women appear to be watching the rushes of the film on an editing table. ”We are making a movie” we hear them say. As Dwoskin points out, “C-film asks how much is acting acted”, an ongoing question in Dwoskin’s cinema. Produced by Alan Power, with Esther Anderson & Sally Geeson.
The city from the unique perspective of the many wild animals and plants that inhabit it. Seen through the eyes of the adventurous urban cat, Abatutu.
An eight-hour contemplative epic, entirely starring sheep.
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.
An unnamed passer-by is forced to trace a circular route inside an abandoned tram station, facing loss and time. The broken walls act as a channel, transmitting fragmentary, blurred and analogical memories.
Fog surrounds the peak of a mountain as summer wildflowers bloom.
A man reads a letter from his away girlfriend while he contemplates on some memorable places in Jakarta, where they had spent time together.
A documentary portrait of Utopia, loosely framed by Plato’s invocation of the lost continent of Atlantis in 360 BC and its re-resurrection via a 1970s science fiction pulp novel.
Something takes us underground, where gods and monsters are active, amid the ruins of a world they move around with their innumerable hands. Inspired by Fritz Lang and Richard Wagner, Remains is a daydream.
A manufactured memory.
This portrait of a guinea fowl is the first clear vision I've had of the hot-blooded dinosaurs still living among us. (SB)
WORM AND WEB LOVE begins with bracketed light, a throbbing worm in the sand and sea foam mixed with grass and oceanic detritus, soon superimposed upon the dark blue-toned face of a man, then a woman (Michael McClure and Amy Evans McClure), each seen, then on, through superimpositions of drifting smoke and the back-lit stark grid of a spider's web. The obvious affections of the man and woman, their clear display of love, is metaphored in these tenuous superimpositions, culminating in the frantic movements of the spider itself and the dance of joy of the features of the couple in loving resolution.
This stream-of-consciousness could be nothing less than pathway of the soul, as images of Marilyn's window are remembered from inside-out, its "view" interwoven with all of other windowing and the Elements of the known world.
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.
This is an architectural garden of the variably brash rock-solid liquid-encompassing, but always imitative, human mind as it processes the given light thoughtfully. This film is about that.
A Cincinnati public school fights to break the cycle of poverty in its Urban Appalachian neighborhood, where senior Raven Gribbins aims to become the first in her troubled family to graduate and go to college. When Principal Craig Hockenberry's job is threatened, it becomes clear it's a make-or-break year for both of them.
The discovery of a human torso thrown into a waterway, leads the viewer to observe the work of modern criminology and the task of special agents to track and record the psychopath's mentality through the elucidation of techniques present in the reality of the police investigation.
"Adrift" is shot on the arctic island of Spitzbergen and in Norway. It combines time-lapse photography with stop-motion animation of the landscape. Through camera-angles and framing the film gradually dislocates the viewer from a stable base where one loses the sense of scale and grounding.
