A confession from a filmmaker, who is not able to read books anymore. He tries to justify himself before the camera.
পাঠকের মৃত্যু is of 0 hour(s) and 9 minute(s). It is Produced By: Floating Cinema. It was released on 2018-08-03.
Genres: Documentary
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I spent a day inside a small abandoned military fort by the sea. With the tide went up and down, I appeared and disappeared into the water.
I and other person, we exercise the daily movements by moving each other's body.
Throughout three decades, Bill Laswell has been a constant innovator, fusing seemingly disparate genres into a whole new sound. Touching upon everything from worldbeat, funk, rock, hip-hop and jazz, there are no limits to his experimental approach. Among his many talents is his ability to bring together well-matched singers and players to create a distinct style that defies easy classification. His Soundstage episode embodies his unique approach, transcending any genre boundaries and delivering an engaging performance. From the World Beat of Tabla Beat Science, to the jazzy flavors of Pharoah Sanders backed by Material, it’s an exciting mix. Other surprises include a rocking Buckethead set that includes a little breakdancing and songs by Praxis. The show culminates with an all-star performance, funked up by Bootsy Collins.
It has an average vote of 10 on TMDB.
Detoxify oneself from accumulate images, being able to see again as after an electroshock. ἐκπύρωσις, ekpýrosis, “out of the fire”, in Greek philosophy is the universal conflagration or “great fire and end of the world”.
An experimental documentary portrait of director Malcolm Quinn Silver-Van Meter's grandfather
Can we reinvent our lost queer histories? #Familiar #Touch #Lost #Figures is about queer ancestry and diaspora, a hybrid of cultural traditions and contemporary queer identity. It explores feelings of guilt and joy, and intimacy between femmes of colour.
A roll of film is not a successful conduit for grief. For Robert Todd.
A dark formless body moves . Formlessness of an entity is because a constant change in form is perceived as formless
A self described "documediamentary" about the reactions to the release of the then final Star Wars film, "Revenge of the Sith".
"This installation or performance work puts my own earlier film of the Mona Lisa through another stage of transformation – my own irretrievable self of some 34 years ago is now also part of the subject I first saw the ‘actual’ ‘Mona Lisa’ when I was about thirteen. Of course I had seen dozens of reproductions in books and postcards by then and the popular mythology of the enigmatic smile was already well engrained in my mind. My strongest impression, as I recall, was how small and unsurprising it was – a heavily protected cultural icon – no longer really a picture – and I was much more excited by the painting of the distant landscape than by the face. My own ‘version’ of ‘la Giaconda’ was never an homage, nor like Marcel Duchamp’s ‘L.H.O.O.Q’, an attack on its cultural power. Instead it came from a fascination with change and transformation – maybe also with arbitrary appropriation." Malcolm Le Grice
It has an average vote of 10 on TMDB.
RIPPLE, 2020. HD digital video loop & steel & hardware, duration: 5 minutes. Soundtrack by Kevin Carey.
"The details of the script for Alma were modeled from data that the artist collected from her own digital devices. The film describes a woman who enters into a private contract with a room. The objects in the room monitor how she feels as they respond to her in real time, comforting her with their physical presence and touch. The room tracks the character’s steps and her screen time, but it also monitors impossible data points, like what she would have accomplished if she had lived a different life. The first half of the film celebrates the unreality of her wishful thinking that technology is capable of solving any problem. In the second half of the film, these optimistic ideas are traded for a catastrophic vision of her digitally connected self. In the end, she is immersed in a space that describes what it once was like to be among other people. While physically separated, she waits indefinitely in a digital rendering, surrounded by a phantom of human presence." — Jane Lombard Gallery
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.
(Principio Cômico)
(Tomad nuestra voz en vuestras gargantas)
It has an average vote of 6 on TMDB.
(Seoane)
It has an average vote of 6 on TMDB.
A languid, beautifully shot collection of landscapes, edited into a whimsical and touching film.
It has an average vote of 6.3 on TMDB.
A camera calligraphy of the coastal bush -- celebrating growth, summer light, rock and plant textures.
