Vf Fil

Spectrum and prism divide the screen; whites and light, etc. "Out of this purity comes all colors. I've always been attracted to refracted light and prismatic phenomena" says Bernard. For Richard Devereaux. Super 8, silent, non-narrative.

A man must find a home for a young boy.

John Ford and John Wayne — a friendship and professional collaboration that spanned 50 years, changed each others’ lives, changed the movies, and in the process, changed the way America saw itself. It was a relationship that reflected all the elements and all the paradoxes of 20th century America — generosity of spirit, abuse of power, a sense of loyalty, and a restless nationalism that didn’t quite know what to do with itself.

The magazine film of the album 'Indigo'.

Anxiety film that will bring you bad luck. On execution days, the baker reserved a loaf of bread for the executioner by placing it upside down on his stall. From there, appeared the superstition according to which, placing the bread upside down on a table would attract the executioner to either, and therefore bring death.

What would you do if you saw a terrible film and your name was Christopher Ford?

Shot in a single uncut sequence, Cinema Olanda Film connects an architectural location, a number of individuals, and past and present events through a momentary filmic reality.

In 2007 Ayreen Anastas made a journey through Algeria, Egypt, Jordan, Lebanon, Morocco, Syria, and Tunisia, collecting materials for a film. The film was intended as an adaptation of Nietzsche’s “Thus Spoke Zarathustra” in the contemporary Arab world. Since that initial material was collected, much of the region and the world have been thrown into ever-greater tumult. An attempt is made to approach the material in a collective manner and make an untimely version of it. For Nietzsche, untimely meant something not belonging to the order of the tastes, expectations, and procedures of its time. If the original film was to stage an encounter between the writing and thinking of Nietzsche and the contemporary conditions of life as manifested in the Arab world, then this film stages that encounter in the lapse and disordering, in the historical black hole which has opened up in the ten years since the meeting was staged.

Young soldiers are roaming the forest aimlessly, shots are heard in the distance. But something isn’t quite right. Soviet troops, the Wehrmacht and American soldiers in Iraq seem to be co-existing in the same peaceful woods. They speak awkwardly about war memories that could never have been their own. And yet they know them by heart. A lighthearted film connecting imagination and storytelling to the reality of war.

A condensed version of twelve years of Super-8 film, partially shot in 16mm while projecting. A film diary or yearbook. Twelve years of filmmaking, twelve years of life as a filmmaker, carefully chosen and reassembled. People, places, interiors, and objects. Motion, active camera, brief shots, and exhausting the capabilities of the film camera.

Mutzenbecher films his immediate surroundings - his daughter in a flower dress, a glass of water, window bars, a plastic horse, and himself repeatedly walking out onto the balcony to smoke and - also sitting on the windowsill, also smoking. Carefully framed double exposures and corrections to the framing are exploratory movements - "Which view?" "Which image?" The repetition of sequences at different speeds broadens the scope of this search into the media: "How to show?"

American Football, The New Religion, Right? As the NFL Films theme song is decelerated, the paralysis of Rutgers Scarlet Knights defensive tackle Eric LeGrand takes on a haunting connotation.

Iimura creates a short self-portrait as well as brief portraits of five of his peers: Brakhage, Vanderbeek, Smith, Mekas and Warhol. In each portrait, Iimura attempts to copy the styles and traits of each artist (Vanderbeek's constantly moving camera; Mekas' experiments with film speed; Warhol's use of flashes of white against a black background), while briefly commenting on the images being shown. The film serves effectively as an introduction to the film styles of these artists.

Documentary film that deals with four main thematic areas in Fassbinder’s films: The exploitation of love, the human tendency for mutual repression, the resulting loneliness, and powerlessness that leads to an explosion of violence. Fassbinder’s genius lay in his logical and uncompromising combination of these various themes into a harmonious unity, while at the same time creating a very personal self-portrait of himself. All Fassbinder’s films are self-portraits in disguise. His greatness was one of emphasizing the negative, the darker aspects of things. Through his radical use of rigorous subjectivity he was able to be objective, whether in Fear Eats the Soul, The Marriage of Maria Braun or Effi Briest.