Passing vignettes of the lives of workers and citizens, what home means to them, and inter-city transportation...
Mula Siyam hanggang sa Lima is of 0 hour(s) and 5 minute(s). It is Produced By: .
Genres: MusicDocumentary
Passing vignettes of the lives of workers and citizens, what home means to them, and inter-city transportation...
Mula Siyam hanggang sa Lima is of 0 hour(s) and 5 minute(s). It is Produced By: .
Genres: MusicDocumentary
Top 20 Movies like From 9 to 5
Köner uses sequences of images from webcams as raw material. People and their vehicles appear acoustically, but not visually. The shift from day to night and the influence of the weather gives motion to the segments. He condenses a total of 3,000 individual web images taken from the Internet into one scene. Despite the cinematic motion of the image, it seems like a still photo.
It has an average vote of 5 on TMDB.
A documentary discussing various so-called monsters around the world
Living in forests untouched by man, these gracious and mysterious fairies use their magical powers to send blessings upon Earth. Do not take their kindness for granted. Especially on the night when the sky opens.
An exploration of the powers of the human mind and how hypnosis could hold the key to unlocking them.
In his contribution to the On Art and Artists interview series, Nathaniel Dorsky begins by discussing his childhood love of the John Ford film Stagecoach and its influence upon his decision to make films while attending Antioch College. Describing the affinity he developed for work operating at the intersection of film materiality and personal language, Dorsky explains how he developed his philosophy of the “devotional film” and the “microcosmic viewer.” Dorsky likens his practice to Buddhist sculpture, referring to himself as a “Japanese poet continuing aspects of the ethos of the Marxist revolution.” In the interview, the artist describes his use of the screen as an “altarpiece for the image” and emphasizes his use of editing to create works which “harmoniously coalesce.” Interview conducted by Jeffrey Skoller in May 2000, edited in 2014.
A roll and a half made to delight in color and the presence of friends. Steps toward learning to read in the dark.
It has an average vote of 3 on TMDB.
Anger discusses his Aleister Crowley-inspired theories of art: How he views his camera like a wand and how he casts his films, preferring to consider his actors, not human beings but as elemental spirits. In fact, he reveals that he goes so far as to use astrology when making these choices. This is as direct an explanation of Anger’s cinemagical modus operandi as I have ever heard him articulate anywhere. It’s a must see for anyone interested in his work and showcases the Magus of cinema at the very height of his artistic powers. Fascinating.
It has an average vote of 5.7 on TMDB.
Stan Brakhage is a film maker whose work is shown mainly at film festivals. His work has been likened to poetry. Brakhage explains his techniques and his motivation.
(Cartas de Arapuca)
A camera rotates around the same four towers. Seasons, weather conditions and the positions of the camera change over the course of the film. The sound goes round in circles and drifts in variations.
The author's erotic imagination is mixed between desire and magazine clippings, and the trade of collage becomes a ship that travels from outer space to the city itself.
The film poem about pesticides reflects on the return to the natural food chain, in which insect pest serve as food for the higher order. The harmonic cycle of life and death, the temple that is the wildflower field resounding with the inebriating sound of crickets chirping and wheat spikes rustling in the wind, is invaded by the human, the ultimate consumer with no natural predator.
When forest animals invade our cities, the world is in disarray. Office vixen Fiona struggles with her banana phone addiction. Will she succumb to it? Temperamental bunny Barbara only gives her stag sugar daddy Nestor his special massage, after he dines her and plays the big spender. This obscure short film pinpoints postmodern tropes of consumerism, eroticism, and art with an homage to the theater stage and references to literature. This work uses a fantasy language and needs no subtitles.
It has an average vote of 10 on TMDB.
Through interspersed conversation and prose, this experimental documentary follows a poet and a neuroscientist as they explore the definition of love, what it means, and why it matters.
It has an average vote of 10 on TMDB.
Reynivellir is a representation of the transit that is generated when approaching the art work, described with visual games that can well be evoked by the same brain when witnessing the impossible figures of Jose María Yturralde. Reynivellir is also a beach in a country that is a musical sonnet, and this is so because the mental image does not always connect the articulated parts of a sensation, it is systematic, but aleatory, and it is from these notions of the field of observation, that it approaches and moves away from understanding, linking and unlinking forms, movements, sounds, sensations and knowledge.
During an audio message sent to his daughter, a father reflects on how the recent discovery of dusty reels and scratchy VHS tapes capturing childhood moments has propelled him on a journey of ancient memories and forgotten dreams . Using a blend of personal, public domain, and freely available footage, the film deconstructs reality and reimagines the past, questioning where memory ends and imagination begins.
'Afloat' is an experimental film that paints a portrait of Japanese performance artist: Ayumi Lanoire. The film opens as a telephone call between Ayumi and Person X, which meanders the audience through the various layers that make up her personas leading one to wonder whether she is in fact a myth or reality.
(¿Por qué la gallina cruzó el camino?)
It has an average vote of 10 on TMDB.
(Las Preguntas que Perdimos)
It has an average vote of 9 on TMDB.
After concluding the now-legendary public access TV series, The Pain Factory, Michael Nine embarked on a new and more subversive public access endeavor: a collaboration with Scott Arford called Fuck TV. Whereas The Pain Factory predominantly revolved around experimental music performances, Fuck TV was a comprehensive and experiential audio-visual presentation. Aired to a passive and unsuspecting audience on San Francisco’s public access channel from 1997 to 1998, each episode of Fuck TV was dedicated to a specific topic, combining video collage and cut-up techniques set to a harsh electronic soundtrack. The resultant overload of processed imagery and visceral sound was unlike anything presented on television before or since. EPISODES: Yule Bible, Cults, Riots, Animals, Executions, Static, Media, Haterella , Self Annihilation Live, Electricity.