George Abitbol, l'homme le plus classe du monde, meurt tragiquement lors d'une croisière. Dans un dernier souffle, il murmure : « Monde de merde ». Pourquoi ? Ces mots intriguent le rédacteur en chef d'un quotidien américain. Il dépêche ses trois meilleurs enquêteurs, Dave, Peter et Steven, pour éclaircir ce mystère.
Cornell employs clips from 1931's jungle melodrama East of Borneo – more specifically, clips of its lead actress, Rose Hobart – to disquieting effect. Through Cornell's collage editing, Hobart becomes a singular object of desire and dread, trapped in an exotic paradise.
Inspired in part by a dream he had of murdering his mother, Brakhage here gives us one of his profoundest meditations on human aggression.
Clips from assorted television programs, B-movies, commercials, music performances, newsreels, bloopers, satirical short films and promotional and government films of the 1950s and 1960s are intercut together to tell a single story of various creatures and societal ills attacking American cities.
The sarcastic account of the assassination of five Spanish politicians between 1870 and 1973 is mixed with the narration of five short stories by Edgar Allan Poe illustrated by five skillful pencil artists. A documentary, a video essay, a collage, a provocative experiment where various pop culture figures and icons perform unexpected cameos. The macabre joke of a jester. Never more.
"Voilà un scénario (en faite la simple adaptation cinématographique d'un ancien texte romanesque qui prend le large par rapport à celles de Carné ou de Palma, car il s'agissait de ne plus faire confiance aux milliards de diktats de l’alphabet pour redonner leur liberté aux incessantes métamorphoses et métaphores d'un vrai langage en re-tournant sur les lieux de tournages passés, tout en tenant conte des temps actuels)." JLG
Bits of found film and different types of animation illustrate a classic chase scene scenario: A woman is abducted and a man comes to her rescue, but during their escape they find themselves in the enemy's secret headquarters.
For the multimedia exhibition Tangenten I (Tangents I), Dammbeck and co-organizer, sculptor and painter Frieder Heinze had planned to collaborate on a film that would combine non-camera animation with 35mm footage of a train ride between the two Dresden districts of Radebeul and Pieschen. When the exhibition was banned in 1978, Heinze turned to other projects, but Dammbeck continued working on the film by himself. Metamorphoses I—the first experimental film ever to be shown publicly in East Germany—marks the filmic beginning of Dammbeck’s long-term art project the Herakles-Konzept (Hercules Concept).
The mythic nature of cowboy masculinity is deconstructed in this scathing montage of re-contextualized sounds and images culled from advertising, television, arcade game footage and other pop culture iconography.
A cinematic time capsule with over 1,400 hours of submitted material from all regions of Switzerland gives unknown insights about the life of Swiss people in the politically and socially turbulent summer of 2019.
Dans les années cinquante, dans un collège religieux, l'arrivée d'un élève rebelle et anticonformiste provoque des tensions.
How do German couples communicate in private? What are they arguing about? Is the way to a man’s heart really through his stomach? This docu-fictional hybrid production discusses such questions with the help of authentic interview snippets that were edited under the staged plot. We get an insight into the life of an animal couple, who experience typical everyday situations on behalf of us humans. At first, our fox is emotionally contained, while the penguin lady may get wild as hell. With a wink, the filmmakers hold up a mirror to the audience in the cinema.
After the end of civilization, an aged man undergoes a mysterious journey through space and time that takes him through memories, visions, and historical events, ultimately transcending the limitations of the senses and into a new cosmic rebirth.
The second essay about still dominant dark aspects of our modern society. It is conceived as a surreal anti-patriarchal thought experiment and raises important questions about gender, power, and social change, prompting us to reflect on how historical patterns of discrimination and oppression might be either repeated or overcome in a reversed gendered world. It challenges the viewer to confront their own assumptions and biases, and to consider the possibilities of a more equitable society.
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.
Elsa Michaud et Gabriel Gauthier sont étudiants aux Beaux-Arts de Paris. Ils partagent une relation amoureuse et une recherche artistique. Ils deviennent artistes dans une époque désorientée. Sans paroles, hypnotisé par la musique du tandem Avia x Orly, le montage fusionne les gestes, les signes, les événements du monde et la vie quotidienne des deux étudiants de mars 2017 à mars 2018. Le film exploite la frénésie de l’industrie numérique à travers une proposition plastique. Il décline les paradoxes d’une société qui célèbre les événements de Mai 68, cinquante ans après.
Considerations on collage as a cognitive act in artists’ cinema. A pedagogical film adrift: 35mm photographs and other materials collected over the last fifteen years by artist Stefano Miraglia meet a text written by Baptiste Jopeck and the voice of Margaux Guillemard.
In her recent films, Geiser has been exploring the possibilities found in merging video texture with film, creating a kind of deep, ambiguous space, a suggestion of “the floating world”. In ULTIMA THULE, gravity fails, land and sky lose their historical meaning. A small silver plane navigates an ultramarine storm, flying over barely-glimpsed hills, an unlikely ferry to ”Ultima Thule”: the farthest point north, the limit of any journey. The seduction of immersion in blue is too strong to avoid, the land fills with water, and time loses its line.
A collage of various excerpts from German TV channels, all recorded on Tuesday, June 16th, 2009 and arranged by Holger Kreymeier and shown without commentary in an attempt to cover the absurdities of a typical broadcasting day, inspired by Walter Kempowski's book "Bloomsday '97".
Arthur Lipsett's first film is an avant-garde blend of photography and sound. It looks behind the business-as-usual face we put on life and shows anxieties we want to forget. It is made of dozens of pictures that seem familiar, with fragments of speech heard in passing and, between times, a voice saying, "Very nice, very nice." The film was nominated for an Oscar for Best Live Action Short Film.