Read It and WeepJuly 21, 2006
A young girl turns into an A-List celebrity over night when her private journal is accidently published and becomes a best-seller.
He Stands in a Desert Counting the Seconds of His LifeJanuary 1, 1986
A film collage tracing the story of the lives, loves, and deaths within the artistic community surrounding Jonas Mekas.
Diaries, Notes, and SketchesDecember 1, 1969
An epic portrait of the New York avant-garde art scene of the 60s.
Director Jonas Mekas provides an intimate glimpse of his personal life by constructing a feature length narrative from over 30 years of private home movie footage.
HomeoNovember 1, 1967
O’Leary’s second film is a disjointed collage of beautifully shot footage with the filmmaker’s primitive and experimental soundtrack (lots of harmonium in this one). There are cityscapes, signs and billboards, nudes and plenty of cameos by other French actors/filmmakers of the day. Those with a sharp eye will spot Pierre Clementi (also credited as a cinematographer), Juliet Berto, Michel Auder, Frederic Pardo and more. —Herb Shellenberger
Lost, Lost, LostSeptember 14, 1976
Jonas Mekas adjusts to a life in exile in New York in his autobiographical film, shot between 1949 and 1963.
Les années clairesApril 7, 2016
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Day TripperJanuary 1, 1966
This black and white 16mm short is a montage of clips and sounds that is very bouncy and fun. There’s lots of 60s French hipsters, strange devices, dancing and a disjointed soundtrack that alternates between pop music (like The Beatles and Screaming Lord Sutch) and harsh noise/tape manipulation which O’Leary composed himself. It reminds me of the films of Gunvor Nelson, Jonas Mekas or even Frans Zwartjes. —Herb Shellenberger
Chromo sudJanuary 1, 1968
One of the very few films made by Etienne O'Leary, all of which emerged from the French underground circa 1968 and can be very loosely designated 'diary films.' Like the contemporaneous films by O'Leary's more famous friend Pierre Clementi, they trippily document the drug-drenched hedonism of that era's dandies. O'Leary worked with an intoxicating style that foregrounded rapid and even subliminal cutting, dense layering of superimposed images and a spontaneous notebook type shooting style. Yet even if much of O'Leary's material was initially 'diaristic,' depicting the friends, lovers, and places that he encountered in his private life, the metamorphoses it underwent during editing transformed it into a series of ambiguously fictionalized, sometimes darkly sexual fantasias. - Experimental Film Club
Birth of a NationJanuary 1, 1997
Filmmaker Jonas Mekas films 160 underground film people over four decades.
Let It RipJune 1, 2016
Soare is a musician with too little inspiration and too many neurons baked from smoking weed. One day, he decides that his life has become too chaotic, so he begins writing a guide for surviving the moments when his reality stops making sense. Passing various surreal episodes, Soare hopes to regain his inspiration.
And in shallow waters, then i learned not to swim but to lieOctober 9, 2018
Footage from summer of 2018 that explores the passing of time regarding the little things in life.
In the Land of Giants and PygmiesJanuary 1, 1925
IN THE LAND OF GIANT PYGMIES, a diary of Aurelio Rossi's 1925 trek into the immense Belgian Congo, preserves a long-gone-Colonial-era wonder at natural resources, "primitive" tribes, customs and costumes in Europe's cast African possessions, and implies that the "dark continent" could benefit from the "civilizing" influences of home.
The Second WomanJanuary 1, 1978
Over the course of more than fifteen years, Clémenti films a series of intimate diaries, starting from daily encounters. In La deuxième femme, we see Bulle Ogier and Viva, Nico and Tina Aumont, Philippe Garrel and Udo Kier, a performance by Béjart, a piece by Marc’O, concerts by Bob Marley and Patti Smith (not always recognisable)... It’s like a maelstrom of psychedelic images that are passed through a particle accelerator.
Video Album 5: The Thursday PeopleJanuary 1, 1987
The comings and goings of the late underground filmmaker, Curt McDowell—and the people and activities that came and went along with him—are the themes that run through this existential diary of daily life. McDowell was dying from AIDS-related illnesses during the production of the diary. “An elegy for McDowell, the videowork captures Kuchar’s mournful remembrances of his long-lasting friendship with the young filmmaker. But it also has the inquisitive charm, perverse humor, and quirky candor that places Kuchar’s visual expressions in a gritty niche all their own.” —Steve Seid, George Kuchar in Person (Berkeley: Pacific Film Archives, 1988)