by ·Comments Off on The Nightmare (2015, Rodney Ascher)

Self-reflexive documentary interviewing a few people who suffer from sleep paralysis, during which they feel like they’re awake but unable to move and being tormented by malevolent entities in their room. Ascher’s movies are always a pleasure to watch – the sound, editing, and reenactment footage are all great here. It includes occasional behind-the-scenes footage – slates, the camera resetting for a creepy move behind a wall, the “entity” actors prepping a shot – as if to remind us that they’re reenactments.

Arguably not a horror movie, but it’s the first movie since Candyman that I’ve been afraid would follow me out of the screen into the real world, since some people begin experiencing sleep paralysis after hearing stories about it. Therefore it is one of the most effective horror movies ever. Also disturbing in the way that it ends – one sufferer finds Jesus and quits having nightmares, the others have some ideas but it seems like their torment is still ongoing.

A. Nayman for Cinema Scope:

[Ascher] suggests that the sorts of visions common to sleep paralysis are actually deeply embedded in the collective subconscious. Exactly how they got there in the first place is a question that The Nightmare doesn’t really try to answer, but its entire M.O. is baldly provocative. Like the haunted TV broadcasts in Ascher’s beloved Halloween III: Season of the Witch or the cursed videotape in The Ring, it’s a film that means to infect its audience with its imagery.

by ·Comments Off on Visits and Portraits (1947, Alain Resnais)

Some of the earliest-listed Resnais shorts, a series of short portraits of different artists from the year before his Van Gogh, and three years before Gauguin and Guernica. I was surprised to come across these online. Not sure if they were released with no sound, but the copies I found were completely silent, with no music, no clever Marker or Cayrol or Queneau commentary, so I looked up info on each artist online.

(Mis)information: NY Times bio gets the dates wrong but claims these were indeed silent, Films de France says the 16 minute Hartung film is in color and runs 90 minutes (and is “passable entertainment”). Richard Neupert’s French New Wave book says these were made after Resnais dropped out of film school in 1945 and did his military service in 1946. “Resnais credited these shorts about painting as valuable testing ground for making still images come alive through editing and camera movement.”

 
Visite a Óscar Domínguez

Some time-lapse painting, and did I see a stop-motion statue?

Mid-Centuria: “Óscar Domínguez (1906-1957) was a Spanish Surrealist painter … During the 1940’s, his paintings were strongly influenced by Picasso with whom he had become friends while living in Paris.”

Visite A Hans Hartung

Groovy looking dissolves in this one.

Wiki: “Hans Hartung (1904-1989) was a German-French painter, known for his gestural abstract style.” The nazis tried to arrest him for being too cubist.

The artist (smoking, of course) scratching out a spiral:

Visite a Cesar Domela

Aha, an opening credit for commentary by A.F. Delmarle – so these were not originally silent. This one’s in rougher shape. Shows him using cutouts and tapping a paintbrush to get texture, sanding objects which will be affixed to the canvas, then last couple minutes is a showcase of finished(?) works.

Wiki: “César Domela (1900-1992) was a Dutch sculptor, painter, photographer, and typographer, and a key member of the De Stijl movement.”

Visite a Felix Labisse

No commentary credit here, just an opening Hegel quote then a long pan down two mighty collages. Works shown focus on naked women and birds, two of my favorite things, and are super awesome and disturbing, reminding me of Dali-meets-Woodring.

Wiki: “Félix Labisse (1905-1982) was a French Surrealist painter, illustrator, and designer.” IMDB says he has cinema experience, appearing in Zero for Conduct and a couple Henri Storck films.

Visite a Lucien Coutaud

Sci-fi landscapes, nudes and angular craziness.

M. Adair: “Lucien Coutaud (1905-1977) was a French surrealist painter and engraver … He had 40+ years success with his artwork which has varied widely from painting, drawing, print-making, costume designing and illustrating … Coutaud has also designed opera, theater and ballet sets.”

Portrait de Christine Boomeester

With piano music. Nice bit at the end showing her beginning a painting, lighting a candle, then a title card says “at dawn,” the candle has burned down and painting is complete.

Askart: “Christine Boomeester (1904-1971) was active/lived in Italy, Netherlands, France, Indonesia … known for abstract paintings.” She was also married to Henri Goetz.

Portrait de Henri Goetz

The big one, twice as long as the others. The usual slow zooms and pans across the paintings (even a spiraling zoom into one), but also more process exploration, showing progression of the artist over a few years, a series of drawings with each one inspired by details in the previous, and the month-long process of creating a new painting – which is burned at the end (can’t tell if it was a reproduction).

Wiki: “Henri Bernard Goetz (1909-1989) was a French American Surrealist painter and engraver. He is known for his artwork, as well as for inventing the carborundum printmaking process … Goetz showed the film to Gaston Diehl, leading Diehl to commission Resnais to create the film Van Gogh in the following year. Resnais went on to win an Academy Award in 1950 for the Best Short Subject, Two-reel film for Van Gogh.”

Mouseover to fill in the shapes:
image

All these were “presented by Andre Bazin,” co-founder of Cahiers du Cinema and mentor of the French New Wave, who rarely appeared in any film credits himself. Can’t find evidence that Henri-Georges Clouzot knew Resnais, or saw his art documentaries before making The Mystery of Picasso.

by ·Comments Off on Bergman Island (2004, Marie Nyenröd)

“I’m actually scared of everything.”

This is the source of the short introductions and DVD extras that begin with video of Bergman’s car arriving at his house. Filmed interview segment is just okay, but Bergman tells good stories and the editing of stock footage and his own films into the interviews is done well.

This was originally three one-hour episodes with more focus on the theater, later recut into a single, cinema-focused feature. The director: “I was the first and only journalist who was ever allowed to step into the world of Bergman on its lonely cape on Fårö.”

Asked about his conscience after abandoning so many families: “I had a bad conscience until I discovered that having a bad conscience about something so gravely serious as leaving your children is mere affectation. It’s a way of achieving a little suffering that can’t for a moment be equated to the suffering you’ve caused.”

by ·Comments Off on Nostalgia for the Light (2010, Patricio Guzman)

All I knew from Guzmán was The Battle of Chile, which is newsreel documentary with explanatory postscript. I heard this was another doc about Pinochet horrors made forty years later and thought ah, more of the same. But this is something very different: a poetic, visual doc encompassing early man, human history and the cosmos, past and present colliding in beauty and horror.

One of the movie’s subjects, Lautaro Núñez, explains:

The astronomers created an enormous telescope … They are in the present recording a past which they have to reconstruct. They have only minute clues. They are archaeologists like us. … Why are there archaeologists and astronomers in the same place? The answer is simple. Here, the past is more accessible than elsewhere. The translucency of the sky is, for the archaeologists of space, what the dry climate is for us. It facilitates our access to evidence from the past.

Guzmán: “And yet, this country has not yet considered its past. It is held in the grasp of the coup d’etat which seems to immobilise it.”

Guzmán slowly brings the focus from ancient archaeology to more recent, focusing on a group of women who have combed the desert for decades looking for the graves of their relatives who were murdered and disappeared by Pinochet’s men. Then he connects even this to the cosmic, all with beautiful photography.

Astronomer Valentina Rodríguez’s parents are among the dead. “Astronomy has somehow helped me to give another dimension to the pain, to the absence, to the loss. I tell myself it’s all part of a cycle… we are all part of a current… like the stars which must die so that other stars can be born… nothing really comes to an end.”

by ·Comments Off on Free Radicals: A History of Experimental Film (2012, Pip Chodorov)

Personal history by Chodorov – I know the name because I was once subscribed to his FrameWorks email list. His dad Stephan was a filmmaker, so Pip grew up surrounded by independent film and artists. He’s got interviews with the big names: Mekas, Kubelka, Jacobs, Breer, Snow… and Hans Richter, so I guess some of the interviews were archival and I didn’t take great notes. He takes a fun, enthusiast approach rather than the history-book implied by the title, and any excuse to revisit this work is a good one.

Includes some short films (in their entirety?):

Free Radicals (1958, Len Lye) – tremendous, white scratches on black, edited rhythmically to an African drum group in ever-changing patterns.

Recreation (1956, Robert Breer) – seen this before, I don’t get the Noel Burch narration but the visuals are fast and exciting.

Rainbow Dance (1936, Len Lye) – insanely complicated color and effects for the mid-1930’s.

And the section of Brakhage’s Dante Quartet called Existence Is Song (I forgot the Quartet sections were titled).

by ·Comments Off on Citizenfour (2014, Laura Poitras)

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by ·Comments Off on The Pervert’s Guide to Ideology (2012, Sophie Fiennes)

Great sequel to The Pervert’s Guide to Cinema. I liked this one better – less psychoanalysis and more social/political discussion. Again we’ve got clips from films and new stories and music performances, with Zizek talking for the entire runtime, having been placed inside the sets from some of the films (“feel-ums”). Would be worth watching this a few times, a la the Adam Curtis movies, in order to grasp it all, but it’s simply less enjoyable than an Adam Curtis movie. Maybe if they got Craig Baldwin to edit the visuals and Mark Cousins to re-record the voiceover… but I digress.

Some Things:

Good idea to open with They Live. Besides the obvious bit with the clear text commands beneath billboards and magazines (“consume”) he discusses why the fight scene has to be so long and difficult.

Zizek speaks from inside They Live, The Sound of Music, a Coke commercial, A Clockwork Orange (I think), Jaws, Triumph of the Will (heh), The Fall of Berlin, one real location (an airplane graveyard), Taxi Driver, Full Metal Jacket, Brief Encounter, Seconds (good one) and Titanic (including a great post-credits stinger where he plays Dead Leo DiCaprio)

“The basic insight of psychoanalysis is to distinguish between enjoyment and simple pleasures. They are not the same. Enjoyment is precisely enjoyment in disturbed pleasure, even enjoyment in pain, and this excessive factor disturbs the apparently simple relationship between duty and pleasures.”

He uses Kinder Eggs (“a quite astonishing commodity”) as a metaphor about layers of enjoyment. I think by his logic that Edgar Wright movies are Kinder Eggs.

He defends Rammstein, showing concert footage that has been likened to nazi imagery. Actually, nazis come up a lot in this movie, and there’s a long section about Beethoven’s 9th, Ode to Joy (also feat. A Clockwork Orange).

Seconds:

How to properly mock communism: in Loves of a Blonde and The Fireman’s Ball, Milos Forman “mocks precisely the ordinary people in their daily conformism, stupidity, egotism, lust, and so on. It may appear that this is something very arrogant, but no, I think that this is the way to undermine the entire structure of the Stalinist universe, to demonstrate not that leaders are not leaders – they’re always ready to say ‘oh but we are just ordinary people like you’ – no, that there is no mythic people which serves as the ultimate legitimization.”

“How come it is easier for us to imagine the end of all life on earth, an asteroid hitting the planet, than a modest change in our economic order? Perhaps the time has come to set our priorities straight and to become realists by way of demanding what appears as impossible in the economic domain.” Seems that Zizek is advocating for revolution.

by ·Comments Off on Watermark (2013, Jennifer Baichwal)

Amazing imagery of water across the world: rivers & lakes, dams & reservoirs. Occasional scenes of codirector Edward Burtnsky creating/assembling a photo book of the same material, so this is the motion companion to his book. Emphasis is on human intervention upon natural water paths, with a few interviews about the ensuing wreckage upon lives and the environment. The credits claim a 180:1 footage ratio. I calculate that’s 261 hours of raw footage.

by ·Comments Off on Altman (2014, Ron Mann)

A career retrospective of Altman, with short celebrity cameo definitions of “Altmanesque,” none of whom mentioned overlapping dialogue. Narration and interviews with family members, many of whom were at our screening. Some good Altman stories within, but not much to say about the doc itself, so instead here’s a list of his movies I should watch (or *rewatch) soon:

– The Long Goodbye
– Gosford Park*
– Kansas City
– Popeye*
– Brewster McCloud
– Buffalo Bill and the Indians
– Thieves Like Us