How to Live with Regret (2018, John Wilson)
Before the TV series he made a few standalone shorts, which I must find. His metaphors go on for too long and get lost sometimes, and there are a few classic film clips, otherwise basically a shorter, more tightly topic-focused version of the series. He interviews a guy who writes down all his regrets, and gets distracted by the guy’s screensaver, then talks with a friend whose apartment burned down (the multiverse is mentioned).
Autoficcion (2020, Laida Lertxundi)
Short 4:3 doc scenes, and some staged shots of a woman being dragged around. Subtitled interviews with Los Angeles-area women whose lives feel unstable. Repeated play of the song “Time Is On My Side.” Not more exciting than her other films, but I can spare 15 minutes per year for these.
Prometheus (2021, Dominic Angerame)
Spark showers, sometimes frame-in-frame, pure whites on black. Perhaps the camera was wearing a welders mask. Dom playing improv music on bells.
Austrian Pavilion (2019, Philipp Fleischmann)
The most filmy-lookin’ film I saw all weekend (on my TV), a hitching blue-tinted flicker down a hallway to some trees, the edges of the frame closing in.
The Newest Olds (2022, Pablo Mazzolo)
City buildings across the river, gently flicker-vibrating from a few angles with street dialogue, then moves inland to fields, still flickering, cool colors, people discussing unusual sounds on the audio, back to the city, this time with the sounds of recent protests. Would’ve been a perfectly fine a/g movie full of cool vibrations, why’d he feel the need to insert photos of dead birds?
Ruka/The Hand (1965, Jiri Trnka)
Watched this again in the latest video restoration, super. The hand uses sex and money and TV and newspapers and bribes and intimidation and imprisonment, then after all the man’s refusals the hand still claims him as a champion after he dies.