Superstar: The Karen Carpenter Story
The final 17 years of American singer and musician Karen Carpenter, performed almost entirely by modified Barbie dolls.
The final 17 years of American singer and musician Karen Carpenter, performed almost entirely by modified Barbie dolls.
You Take Care Now, an early student film, is a perfect exemplar of Ann Marie Fleming's idiosyncratic vision and stands as one of her signature works. Made on 16mm, and incorporating found footage, original material, animation, and processed images (Vancouver's groundbreaking avant-garde cinema of the 1970s is a decided influence here), Fleming's film offers a visually dazzling, emotionally wrenching, oddly humorous account of two profound personal traumas.
Trapped in daily repetition, between the frenetic sound of a glass bottle factory and the guarding of a shed filled with naked mannequins, a young couple meets at evenings. They eat without looking at each other, not even speaking. The Adventure of the Married Couple (Based on a story written by Italo Calvino) is a poetic variation on the daily routine in black and white.
A man waits. He longs for and mourns for, his increasingly disconnected and disparate love for a person. Goodbye to Love is an epilogue of a romance, contemplative of a protagonist who meditates on the forking ways his liaisons have left him. Suspended in that final, desperate monochrome moment, Goodbye to Love geometrically traces the evaporating points of a love triangle in three spare, melancholic acts. An elegy to the demise of a feeling, and the longing that permeates
In the fall of 1967, intermedia artists Ture Sjölander and Lars Weck collaborated with Bengt Modin, video engineer of the Swedish Broadcasting Corporation in Stockholm, to produce an experimental program called Monument. It was broadcast in January, 1968, and subsequently has been seen throughout Europe, Asia, and the United States. Apart from the technical aspect of the project, their intention was to develop a widened consciousness of the communi - cative process inherent in visual images. They selected as source material the "monuments" of world culture— images of famous persons and paintings.
In the late '90s Balazs's family is falling apart front of his brand new VHS camera he got for his 8th birthday.
White Tape explores the theme of boundaries: the frame, the space between brushstrokes and the implications of occupation.
In this child's game, a live-action boy and girl draw characters and compete who is better. The girl draws a flower and the boy draws a car that runs it over. Then a drawn lion chases a drawn girl, until it all becomes frightfully serious.
A film about the dominance of time and space over a human being. A poetic reflection on the transience of material life characterized by a Mediterranean ambience, contemplation, mosaic structure, and repetitive editing patterns.
An experimental and critical view on the decadence of Honduran society. It practically has no narrative structure, as it plays out as a day-in-the-life-of the eponymous Ángel, a kid who's a shoe-shiner.
An experimental summation of the connective space and sense of re-discovery between two people in a long-distance relationship.
Five passengers encounter a mysterious woman on a train. While we strain to hear their whispers, we are confronted by the passengers' reactions. Dark and secretive, this journey will leave you with questions playing on your mind.
Dementia draws a woman into a world of memory loops, losing her love her spirit, her present her past.
A videodance short-film of the avant-garde / experimental dance group of the same name based on the book "Húmus" (released in 1917) by Raul Brandão.
Featuring a cast that includes Sonic Youth's Kim Gordon and Thurston Moore, Mike Watt of the legendary hardcore band Minutemen, and Pettibon himself, this deadpan narrative pays dubious homage to the 1960's radical underground. In this crudely rendered home video of a commune of stoned revolutionaries, the cameras are hand-held, the edits in-camera, and the dialogue is wryly on-target. Pettibon's band of outsiders reenacts a countercultural moment defined by rock music, drugs, and ideological paradox — and in so doing, captures their own late-80's West Coast grunge milieu as well.
A psychiatrist and his needy patient discuss their relationship in a snow-covered field.
Lacking a formal narrative, Warhol's mammoth film follows various residents of the Chelsea Hotel in 1966 New York City. The film was intended to be screened via dual projector set-up.
A meditation on transience composed through juxtaposition of sun-bathed exteriors of Split and dark interiors, landscapes of the city and close-ups of human faces, movements and stillness, the material and the spiritual.
The film consists of three sequences shot by a fixed camera: the first shows the balcony of a hospital with patients (soundtrack from the film "Vivre sa vie" by Jean-Luc Godard), the second is a scraped wall and the third is a crossroad with pedestrians and cars (sound taken from the film "The Time-Machine " by George Pal).
A man who is paranoid and deluded by his own conspiracies that someone out there is after him must come to terms with the root of his suffering.