
This Must Be My Face
★ 5.5 · 2017 · 10m · Music
10 minute experimental film. Warning: this video involves frequent strobing.
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Before the Gates
2017 · ★ 5.5
Trite, closed memories flagrantly bleed into profuse openings mixed & held together by retaliatory colorations & obfuscations.
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Moonwalker
1988 · ★ 7.1
This fantastical movie inspired by the music of Michael Jackson features imaginative interpretations of hit tracks from the iconic 1987 album “Bad”.
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An Index of Metals
2003
Shortly before his death, Romitelli together with his friend Paolo Pachini and the poetess Kenka Lèkovich, resurrected the dream of a total scenic art (a furnace of sensations, they called it, an_ initiation rite_) in the manner of the Futurists: rhythms and gleams of light striking metals (for the video part), poems in iron and chrome singing of fusion with matter (Kenka Lekovich), acoustic/electric music highly amplified, filtered, spatialised, in as artificial a manner as possible. An Index of Metals bears vigorous witness to this determination to go beyond: sizzling orchestration, electric and psychedelic; a voice which plays on effects, murmurs with reverb, cackles into a megaphone, screams like a pop star; and an electric guitar score of a kind that no ‘serious’ composer has ever written, sliding across an infinite range of tones with a lightness of touch and blurring of contours.
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Hiding Under a Copy of the Strokes' Single 'Under Cover of Darkness'
2017 · ★ 10
Hiding inside&out, writhing about, taken out&in.
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Beatles Electroniques
1969 · ★ 8
Part of a collection of restored early works by Nam June Paik, the haunting Beatles Electronique reveals Paik's engagement with manipulation of pop icons and electronic images. Snippets of footage from A Hard Day's Night are countered with Paik's early electronic processing.
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The Getty Address
2007
James Sumner directs and animates the entire Dirty Projectors’ The Getty Address.
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2006
A film in five different sections, each containing a different soundscape by Ostrowski. Hand painted film, intense exposure, morphing textures and shapes into a seamless whole; geometrical games sabotaging themselves; and the incessant lure of the abstract paint drift. The soundscapes, of course, build up like fountains of picture, oscillating between contemplative sculptures with electronically manipulated strings and harsh noise attacks on our senses. Despite the use of sound as a central filmic element, Cyanonide stands as a proof of the enduring influence of Brakhage on american avant-film.
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No Impersonator , Perpetrator
2017 · ★ 10
Pounding backbeats beaten by [(Don't Get)] warm[welcomes]th.
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