A two-minute poetic micro-manifesto of ecological and social warning about the endangerment of people and the world's nature in the 1960s.
Erna is of 0 hour(s) and 2 minute(s). It is Produced By: . It was released on 1963-01-01.
Genres: Documentary
A two-minute poetic micro-manifesto of ecological and social warning about the endangerment of people and the world's nature in the 1960s.
Erna is of 0 hour(s) and 2 minute(s). It is Produced By: . It was released on 1963-01-01.
Genres: Documentary
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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.
Fragments 83 rediscovers—and repurposes—Richard Millen 1983 experimental film If You Can’t Be with the One You Love, shot in Brooklyn and the West Village in the early days of the AIDS epidemic. The resulting documentary explores the hunt for sex/love, the joy of making cinema, and the inexorable passage of time.
'Still Lives' comprises a trilogy of films by Patrick Sheard; Lamenta, Libertas and Exitus, anthologized here in their entirety.
"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
The short film is a montage of sped up clips of The Ringling Brothers Circus in action set to a musical track. The film is separated into four segments, each segment which focuses on different acts within the circus. The later segments often incorporate clips from earlier segments, mostly as background to the featured acts. The speed of the clips match the tempo of the soundtrack music.
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RIPPLE, 2020. HD digital video loop & steel & hardware, duration: 5 minutes. Soundtrack by Kevin Carey.
Mounting of the film by Dmitry Frolov on the basis of documentary frames of performances of Russian ballet dancers and lifeless margins of the Russian outback. Symbolizes the slowly naked and dying Russian world.
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A dark formless body moves . Formlessness of an entity is because a constant change in form is perceived as formless
A workshop film made with a group of students of the Pietro Zorutti School in Palmanova, Esercizi di Cinema is an experimental adaptation of Raymond Queneau's book Exercises in Style.
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"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.
Terminal City records the demolition of the Devonshire Hotel in Vancouver; through extreme show motion and symmetrical diagonal framing, Gallagher underscores the passage from order to chaos within the event. The sparseness of this centering and he patience required of the viewer heightens the literally explosive climaxes of the film, and transforms the everyday violence of the events into moments of convulsive beauty. – Jim Shedden, Michael Zryd, The Independent Eye
(Principio Cômico)
(Seoane)
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The theme of death is heavily interwoven in Smolder’s surreal salute to Belgian painter Antoine Wiertz, a Hieronymus Bosch-type artist whose work centered on humans in various stages in torment, as depicted in expansive canvases with gore galore. Smolders has basically taken a standard documentary and chopped it up, using quotes from the long-dead artist, and periodic statements by a historian filling in a few bits of Wiertz’ life.
It has an average vote of 5 on TMDB.
An experimental documentary portrait of director Malcolm Quinn Silver-Van Meter's grandfather
In this meditation on contemporary race relations, two black men discuss in voiceover certain “casual” events in life and cinema that are unnoticed or discounted by whites—gestures, hesitations, stares, off-the-cuff remarks, jokes—details of an ideology of repressed racism.
"The evaporation or the centralization of the self. Everything is there." —Charles Baudelaire A sensorial approach to landscape In the deep contemplation of landscape the senses are altered. We feel a sublimation experience where the mental image of landscape undergoes a metamorphosis. The actual space is distorted, time flows in a different way: it stops in our consciousness. It is the connection at the "full instant," the idea of "durèe" of Henri Bergson, where the intensity of the experience makes the image of landscape expands.
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