Quote:
Finally reunited, Stan Brakhage’s masterpiece Dog Star Man is an experimental movie without sound. A creation myth realized in light, patterns, images superimposed, rapid cutting, and silence. A black screen, then streaks of light, then an explosion of color and squiggles and happenstance. Next, images of small circles emerge then of the Sun. Images of our Earth appear, woods, a part of a body, a nude woman perhaps giving birth. Imagery evokes movement across time and space. If the movie tends sometime toward abstraction, there is still a kind of off-the-tracks narration here. Dog Star Man could be about a man, lost in mountain, struggling to survive, and as he fell the breath of death on his shoulder, remembering trough flashes his wife and son.

1.33GB | 1h 14mn | 766×576 | mkv

https://nitroflare.com/view/3860EC18641C146/Dog_Star_Man_(1964)_-_BluRay_576p.mkv

Language(s):English
Subtitles:None

“It’s a black-and-white record of European cities in the dark (2-5am), from Basle to Belfast. Quiet, and meditative, what ermerges most strongly is an eerie sense of city landscapes as deserted film sets, in which the desolate architecture overwhelms any sense of reality. The only reassurance that we are not in some endless machine-Metropolis is the shadow of daytime activity: a juggernaut plunging through a darkened village, a plague of small birds in the predawn light. The whole thing is underscored by a beautiful ‘composed’ soundtrack, from quietly humming stretlamps to reggae and the rumble of armoured cars in Belfast. A strange and remarkable combination of dream, documentary and science-fiction.”
Chris Auty, in: Programmheft London Film Co-op

1.37GB | 1h 04mn | 1280×720 | mkv

https://nitroflare.com/view/D2875DDACC94011/Geschichte.der.Nacht.1979.720p.WEB-DL.AAC2.0.x264-KG.mkv

Language(s):German
Subtitles:No dialogue

Quote:
“Das Kino und der Tod/Cinema and Death”(1988), is one of his ‘Cinema Anthology’ ,which was made by extraordinary Bitomsky’s voice and movement of his hands that turn over photos of murder in films.It’s ‘a film noir as a film essay which analyzes film noir’. When he analyzes classic films like Hitchkock’s “Torn Curtain”,Lang’s “Hangmen also die”, Siegel’s “The Killers”,Aldrich’s “Kiss me deadly”,etc, each viewer tries to remake the images that always becomes uncertain in the memory,with the movement of Bitomsky’s hands and voice as a detective showing photos of evidence of murders. There is an astonishing moment of new discovery of the image which we remember as a movement of the film.

568MB | 46m 27s | 640×480 | avi

https://nitroflare.com/view/F79A1B0C99D0123/DAS_KINO_UND_DER_TOD.avi

Language(s):German
Subtitles:English Hard

ORG and excess roads to wisdom
Fernando Birri
“The road of excess leads to the palace of wisdom,” said William Blake. This was the mantra we attempted to analyze in the non-film ORG. I want to try to make this lecture correspond formally to its subject, an experimental film. This may or may not work, but I want to attempt an experimental lecture as a way into the film.

I chose Memories of Fire by Eduardo Galeano because I think it gets to the heart of our experience. That is, the Americas as a vessel for delirium. This has as much to do with dreams as it has to do with the creative energy that some call poetry.

In fact, the whole of ORG has been conceived so that each viewer is required to complete it. It starts with this name, ORG, which can function as a prefix or a suffix. ORG generates organ, orgasm, orgy as well as Amorgos, for example. Search for the word that you want. In the course of the film, the word becomes intertwined with the Orgone theory of Wilhelm Reich. It is precisely to him that the film is dedicated along with two other names: Che and Méliès. … Putting these three names together is like mixing oil and vinegar, salt and sugar, Yin and Yang, traditional and conservative culture. In this schizophrenic and ecstatic mixture, contradictory elements remain separate and grow ever more opposed. This was an attempt made with the film to respond to the old concept of “harmony in discord” which is usually taken to imply that contradictions have been overcome.

The film first took shape in the crucial year of 1968: Che had died in 1967 in Bolivia, man was about to reach the moon and his ego had shifted. What was happening in the human psyche seemed to me to be like what happened when the Ptolemaic was replaced by the Copernican world system. At that time the human ego, or its sentiments, was loosing its centeredness. An ego-cosmocentric conception of the human was also being breached. The film suffers all the tensions and ruptures of these contradictions which are, in truth, only psuedocontradictions. {I don’t understand this sentence: “Una crítica es al lenguaje cinematográfico, hecha, de alguna manera, desde el interno del lenguaje cinematográfico, concebida por una bestia cinematográfica que es quien les habla.”} It advances a critique of the concepts of the left of that time from a man who, naturally, has also lived or tried to live in solidarity with the left.

(…)

In addition to the two crises I’ve already mentioned, the one about film language and the other about history, there was the third crisis: whether the film could ever be shown, a decision not to be weighed lightly any more than whether or not to commit suicide. But then it was decided that it would be shown in Venice. I constructed a large screen in front of the door of the cinema. This was never intended to be projected in a movie house but as part of something else, part of a happening, what today you would call an installation. So I install this giant screen before the entrance of the cinema and, with a large knife I’d picked up in India, at three o’clock sharp I climb a ladder and begin to cut away at the screen, tearing it open, so that the audience came through the screen. The audience was the backdrop for the film. Rather than situating the viewer in front of the screen as an active spectator, one who leaves no different than when he came to see it, I intended the viewer to enter the film …

The synopsis of the film, or non-film, I’ll read as it appeared in the press-kit: “Some years after the explosion of a mushroom cloud, a black man named Grrrr helps his white friend Zohommm to seduce his beloved Shuick in a love triangle. When Zohommm later becomes jealous, he consults an electronic Sybil about his woman and friend. She confirms his suspicions and, in despair, he cuts off his head. Grrrr, his black friend, finds him dead and also kills himself. When the woman Shuick discovers them, she tries to jump off a cliff, but is stopped by the electronic Sybil, who brings the two friends back to life. Shuick reunites with the two men, but their heads have been transposed, swapped (by mistake or not?) and a dispute arises between the two bodies to decide who will now get the woman. Is a man his head or his sex? This little question, the film leaves open.”

2.48GB | 2h 50m | 767×560 | avi

https://nitroflare.com/view/FF9C6BD849E4C49/Org__Fernando_Birri_.mkv

Language:Italian, English
Subtitles:English, German

Quote:
Industrial Soundtrack for the Urban Decay traces the development of one of music’s most quietly influential genres from the post-industrial cities of Europe to America’s avant-garde scene, and features contributions from members of pioneering outfits : Throbbing Gristle, Cabaret Voltaire, NON, SPK, Test Dept, Clock DVA, Re/Search – V Vale, Z’EV, Click Click, Sordide Sentimental, Hula, The Klinik, Ant-Zen, Orphx, In The Nursery and Prima Linea.

extras
Boyd Rice Interview (4:43)
Chris Carter and Cosey Fanni Tutti Interviews (5:43)
Genesis P-Orridge Interview (6:59)
Graeme Revell Interview (5:14)
Stefan Alt Interview (3:43)
Stephen Mallinder Interview (4:23)
Udo Weissman Interview (2:23)
Q&A with Tutti, Carter, and the filmmakers (15:12)

943MB | 0h 50m | 1024×576 | mkv

https://nitroflare.com/view/75C74C31503F46A/Industrial.Soundtrack.for.the.Urban.Decay.2015.BR.576p.AC3.2.0.x264.mkv
https://nitroflare.com/view/5486C9CFF2E5A7F/Industrial_Soundtrack_for_the_Urban_Decay__Extras_.rar

Language(s):English
Subtitles:English, French, Spanish, Italian

Quote:
A complex and fascinating experimental exploration of time and identity. Anti-Clock is a film of authentic, startling originality.

Brilliantly mixing cinema and video techniques, Arden and Bond have created a movie that captures the anxiety and sense of danger that has infiltrated the consciousness of so many people in western society.

Filled with high tension and high intelligence, Anti-Clock is mysterious, disturbing, fascinating and exciting’. (Jack Kroll, Newsweek)

958MB | 1h 32m | 640×480 | avi

https://nitroflare.com/view/2B25363CD78097A/AntiClock-1980.avi

Language(s):English
Subtitles:None

”This rarely screened 1989 masterpiece by Pat O’Neill is a moving meditation on industrialization, focusing on the dystopic desert created by Los Angeles’s vast water consumption. O’Neill conceived the film partly as an answer to Godfrey Reggio’s mind-numbing Koyaanisqatsi (1983), a hypnotic inventory of touristy landscapes showing a world out of balance. In contrast O’Neill creates images full of internal contradictions, using optical printing to collage different locales and suggest the inevitable conflict of industry and nature. One slow dissolve between the Owens Valley desert and Los Angeles at night suggests a direct cause and effect: the city flourished only by despoiling the land. Using time lapse to make weather changes visible, O’Neill renders people as fleeting shadows whose power to alter the landscape fails to mitigate the fragility and shortness of human life on a geologic scale.” – Fred Camper, The Chicago Reader

1.44GB | 55m 04s | 1440×1080 | mkv

https://nitroflare.com/view/6D60D56F38B97B1/Water.and.Power.1989.1080p.MAYS.WEBRip.AAC2.0.x264-ZineSouce.mkv

Language(s):English
Subtitles:None

With a screening time equivalent to a full day’s work, Everson turns the cinema into a factory floor. Workers are observed while performing specific tasks, as well as while taking breaks. His humble approach paradoxically results in a monumental film.

By inviting his audience to spend much more time with his subject than the comfortable duration of a fixed film format, or a furtive visit to an installation, Everson directly sollicits our sense of time management. But beyond that, the rethoric of his meditation on history, economy and the place of the individual avoids the manipulative. Without any comment or contextualization, and with no clear sense of what type of objects are being produced, the working performance gains a sculputural quality all of its own. The title refers to the name of a bowling alley in Everson’s hometown, Mansfield Ohio. This film about a full day’s work in a factory that produces bowling alley supplies, requires an eight-hour experience in real time. It is above all a reflection on the relentlessness, but also the dignity, of everyday working life.

5.39GB | 8h 00m | 640×360 | mkv

https://nitroflare.com/view/1F879EA7993F7D3/PARK_LANES_(Kevin_Jerome_Everson,_2015).mkv

Language(s):English
Subtitles:None

Quote:
An American provincial town’s public consultation about the expansion of the Wal-Mart supermarket, recreated in minute detail as a feature film shot in black-and-white 16mm. The transcript from the real life public hearing is serving as the actors’ manuscript – complete with a five minute break in the middle! – while power-point presentations from the meeting are serving as backdrop.

2.29GB | 1h 49m | 1280×720 | mkv

https://nitroflare.com/view/49041B71A36C0D4/PublicHearing-720p.mkv

Language(s):English
Subtitles:None

Quote:
Gallivant is a fantastic British road movie and Andrew Kotting deserves to take his place with those two other great film iconoclasts and chroniclers of late twentieth century life in Britain: Derek Jarman and Patrick Keiller. He is also a great stylist and humourist, which makes the film very accessible despite it’s restless experimentation and disregard for documentary conventions.

Part home movie, part road movie, Kotting’s riveting and eccentric film stars his 85-year old grandmother Gladys – opinionated, bursting with anecdotes and contradictory reminiscences, and his eight year old daughter Eden. As the journey traversing the British coastline begins, the two are practically strangers, but by the end, ‘Little Eden’ and ‘Big Granny’ have struck up a warm bond, a relationship lent added poignancy by the fact that Eden has Joubert Syndrome, a condition that affects her speech and movement so she communicates through sign language.

Not only do the trio discover more about themselves along the way, but they also find that the seaside communities host a wealth of eccentrics. Kotting uses 16mm and Super 8 filmstock, found footage, timelapse photography and much non-synchronous sound to reveal a wonderland of bizarre traditions and quirky strangers.

1.79GB | 1h 39m | 755×432 | mkv

https://nitroflare.com/view/3754EFAB3FFA149/Gallivant.1997.DVDRip.DD2.0.x264.mkv

Language(s):English
Subtitles:English

A documentary about the early beginning of the deconstructivist era of the architecture flourishing in the 80´ties.
Interviews with Zaha Hadid, Peter Eisenman, Bernard Tschumi, Frank Gehry, Daniel Liebeskind, Derrida, Micheal Sorkin and more.

667MB | 56m 49s | 704×576 | avi

https://nitroflare.com/view/46604C4FDFDAC13/Deconstructivist_Architects.avi

Language(s):English
Subtitles:None

Quote:
“Les œuvres de Lena Vandrey qui se trouvent au Musée d’Art Brut de Lausanne, acquises par Dubuffet, sont des effigies de femmes, des sortes de déesses, d’amazones, des personnages totémiques d’une grande force d’expression. Elles sont faites de matières très brutes. Ce n’est pas de la peinture illusionniste. Il y a une tension dramatique qui détruit le système de représentation pour créer un contact beaucoup plus charnel avec l’objet” (Michel Thévoz).
Un voyage à travers les textes poétiques et le récit autobiographique de Lena Vandrey. L’artiste parle de ses racines, de sa philosophie, de sa démarche de peintre, de ses techniques. On la voit en train de travailler, on pénètre dans son monde: son atelier, ses peintures, ses collections, son lieu d’habitation, le paysage du Gard qui l’inspire.

Ce portrait filmique est né d’un double mouvement: la rencontre de Lena Vandrey avec notre univers cinématographique, notre rencontre avec son univers pictural, son espace et sa collection de figures de procession et de poupées articulées. Croisements d’imaginaires, de mythologies: le Sud, les origines, la quête d’une “grécité”, la quête du potentiel magique de l’image, le féminin comme “force amoureuse”. Croisements de gestes plastiques: l’un sur support de toile, l’autre sur support photographique et filmique. Nous avons invité l’artiste à devenir elle-même corps-peinture, peinture filmée. Nous avons mis en scène ses textes, ses tableaux, ses objets, son espace. Tentative de la révéler comme une incarnation de sa propre mythologie.

M.K. – K.T., 1992

876MB | 1h 30m | 760×570 | mkv

https://nitroflare.com/view/A5B4ED10D6F62C9/Ange_Amazonien.mkv
https://nitroflare.com/view/307A37D94343D73/The-Amazonian-Angel-Eng_(1).srt

Language(s):French, German
Subtitles:English

Quote:
The latest film by Hartmut Bitomsky is, just like much of his early work, a original film essay about film and film history. Just as in earlier films, he makes inventive use of the potential offered by the medium video to analyse films.The history of the UFA is the story of a risky financial venture in the twenties and a propaganda instrument in the thirties. Bitomsky’s approach stands out because he involvesthis social and political context in investigating and dissecting films. In this way the UFA – the largest film production company in Germany – stands for Germany between the wars and hence for the traumatic period of the Third Reich. Bitomsky also takes advantage of the opportunity to question prevailing opinions among the writers of film history. He takes a fairly open-minded look and primarily seeks his answers in the film images themselves.Bitomsky shows many UFA films in a kind of video installation on several monitors and allows a scanning camera go from film to film. He also leafs through photo albums, looks at posters and brochures and talks to the odd expert. Bitomsky made two versions of this film; the French co-producer La Sept demanded a shorter version*.

1.04GB | 1h 29m | 720×528 | avi

https://nitroflare.com/view/4E90E26026C3247/DIE_UFA_Hartmut_Bitomsky.avi
https://nitroflare.com/view/492F05E49F6DEA7/DIE_UFA_Hartmut_Bitomsky.srt

Language(s):German
Subtitles:English

Two American Audiences (Richard Leacock, Mark Woodcock, 1968, 40 min., 16mm): Announcing itself as “a typical Pennebaker production of a typical Godard visit,” JLG speaks with grad students and Serge Losique at NYU in April 1968. Pennebaker: “When Jean-Luc Godard came to New York to make a film [1 A.M./1 P.M.] with me and Ricky Leacock, he was anxious to see America before the revolution broke out, torn up as it was with the Vietnam furor. Godard’s most recent film, La Chinoise, was playing, and Columbia University students, who had initiated their student uprising on the day the film opened, were pouring into the theater. This to our unexpected delight, for when Godard had arranged for us to distribute the film, we had done so with misgiving since his films were not normally known to fill theaters. So as we laughed at his sly remarks, it occurred to us that there were two audiences involved here, and maybe that our film should be about that. It might also be noted that the date of the filming, April 4, 1968, was the day Martin Luther King Jr. was killed. Of course, none of us in the room knew about that then.”

499MB | 40m 11s | 640×480 | avi

https://nitroflare.com/view/CEC98887409D738/Two.American.Audiences.JLG.avi

Language(s):English, French
Subtitles:English Hard

Quote:
To Lavoisier Who Died in the Reign of Terror (1991) is a collaboration with filmmaker Carl Brown, who specializes in homebrewed chemical film development. In a series of tableaux, people perform everyday tasks — sleeping, dining, reading, card-playing — as the camera arcs past and over them (the replete set of positions recalls La région centrale’s movements). Brown abraded the film stock, creating a continuous dynamic surface-effect tension with the comparatively static views and cueing the soundtrack, the crackle of fire. The physics and chemistry of combustion were the scientific focus of Lavoisier, the 18th-century savant.

477MB | 58m 19s | 480×368 | avi

https://nitroflare.com/view/74958415D51B2E5/Michael_Snow_-_To_Lavoisier_who_died_in_the_reign_of_terror_(1991).avi

Language(s):English
Subtitles:None

In Untitled Fall ’95, Bag, at the time an art student, “plays” Bag the art student. In a series of deadpan performances, Bag gathers fragments of pop detritus, fashioning a thoroughly mediated document that is at once a celebration and a record of loss. With the narrative inevitability of a TV serial, the eight diaristic segments trace a woman’s struggle to make sense of her experience at art school. As each installment marks the start of a new semester, Bag’s character addresses the camera with her latest observations and frustrations.

Interspersed between these confessions are eight set-pieces, in which Bag performs scenes from the background noise of her imagination: a pretentious visiting artist, London shop-girls discussing their punk band, a Ronald MacDonald puppet attempting to pick up a Hello Kitty doll, the singer Bjork explaining how television works. These surreal episodes sketch out what Bag sees as the simultaneous attraction and repulsion of contemporary youth culture, and teeter on the divide between parody and complicity.

What emerges is a picture of anxiety, boredom, and ambivalence. As Bag despairs at one point, her culture is being sold back to her. However, popular culture, enmeshed with fashion, music, and the art world, necessarily depends on the machinations of capitalism. How does one mount a successful critique, when irony, satire and subversion have been enshrined by advertising and the popular imagination?

811MB | 56m 53s | 700×525 | mkv

https://nitroflare.com/view/D2AF2127FE281DE/untitled_fall_95.mkv

Language:English
Subtitles:None

A mesmerizing, one-of-a-kind window into modern China, People’s Park is a single-shot documentary that immerses viewers in an unbroken journey through a famous urban park in Chengdu, Sichuan Province.

Quote:
“A walk through the park like no other, this brilliantly joyous conceptual documentary takes the vivid reality of an urban park: People’s Park in Chengdu, Sichuan, and, with a pure kind of cinema magic, makes it more real than real. Directors Libbie Cohn and J.P. Sniadecki use an utterly unique and perfectly apposite method of filming: they shoot their tour of the park in one continuous 75-minute long tracking shot. No cuts, no edits: the film starts, it rolls, it stops. Sounds simple, but in the completely uncontrolled context of a crowded Chinese public space, their work required meticulous preparation and rigorous execution to achieve what looks like a spontaneous result. Their camera, as it pans side to side and glides relentlessly forward, catches hundreds of Chinese urbanites out for fun, relaxation, socializing and freedom: eating, strolling, singing, practicing calligraphy, dancing (to various, surprising beats) and watching each other. And being watched (by us) in a way that, though it may start out with what feels like unadorned observation, slowly gathers a kind of ecstatic, trance-like groove, building to a rapturous climax, as people, movement, music, image and sound dance together: this is as close to pure pleasure as cinema can provide.

The soundscape is rich, complex and carefully manufactured, as is the preternaturally smooth movement of the camera, again the result of painstaking preparation and post-production. The result is something extraordinary: a documentary re-creation of reality, or rather a production of something super-real, that activates our sympathetic gaze and ecstatic participation.”

– Shelly Kracier, Vancouver International Film Festival

2.43GB | 1h 17m | 1280×718 | mkv

https://nitroflare.com/view/5AC940F6892019D/Peoples.Park.2012.720p.WEB-DL.DD5.1.h.264-HPN.mkv

Language(s):Sichuanese, Mandarin Chinese
Subtitles:None

Plain Talk & Common Sense (uncommon senses) “is a complex essay-film, a follow-up a decade and some years later to Speaking Directly, and so another State of the Nation discourse, made for Britain’s Channel Four in the year 1986-87. The work involved extensive travel around the United States, and poses an examination of just what America is/was, or what do we mean when we speak of it. Done in a series of radically different sections which collide with each other in a manner intended to provoke thinking, Plain Talk, which was made by an American and intended for American viewers, was indeed
broadcast in Britain, but somewhat predictably, not in the USA. “
–Jon Jost on his website. His website blurb used to be longer

“Plain Talk and Common Sense is Jost’s most successful film yet – a movie of expansive negativity, that putting patriotism under erasure, proposes to represent America and then revels in its inability to do so.”
– J. Hoberman, Village Voice

1.64GB | 1h 52m | 694×520 | mkv

https://nitroflare.com/view/A11C7D29795DE92/Jost__1987__Plain_Talk_&_Common_Sense.mkv

Language(s):English
Subtitles:None

“Neshat spoke to The Stranger’s Jen Graves on Tuesday, by phone from her home in New York.

I first want to talk about Zarin, the anorexic prostitute who hallucinates at the sight of her john, then flees to a women’s bath—a beautiful place, sparkling with dusty light—where she scrubs her own skin until she bleeds. A few years ago, I caught your short video portrait of her, and was never able to get her out of my mind. You’ve said her character feels the closest to you.

In some ways, every one of the women has an aspect of my own issues in them, but I think with Zarin, I found her the most touching. There’s her issue with the body, and the question of her loneliness and alienation—the fact that she always came across as if she was a woman that was never meant to belong to this planet but somehow she had to cope with it. Although I’ve never been like that, I’ve understood that problem, and to some degree, I have experienced being lonely a lot of times in my life.The most important thing to me is her relationship to her body, in the way that she punishes herself for everything that is wrong with the world. When I was young, I was very briefly anorexic, but I think this is very much of a woman issue: You basically self-inflict to cope with everything that is wrong in the world. Oddly enough, the one that is the most sinful [the prostitute] becomes the most spiritual. We have a saying, that the mystics, the dervishes in our Sufi tradition, are the people that suffer the most, and because they’re so tortured, they turn into spiritual beings. Zarin, who is the most tortured, becomes the most spiritual and the most compassionate in the way that she impacts the other women’s lives. It’s her spirituality and otherworldliness that I like. The last thing, also, is that Zarin never speaks in the entire film, but you always understand her.”

181MB | 20m 04s | 758×316 | mkv

https://nitroflare.com/view/17792576B8F812B/Zarin.mkv

Language(s):Farsi
Subtitles:None

The post Shirin Neshat - Zarin (2005) first appeared on Cinema of the World.

Synopsis
An uncompromising look at the ways privacy, safety, convenience and surveillance determine our environment. Shot entirely at night, the film confronts the hermetic nature of white-collar communities, dissecting the fear behind contemporary suburban design. An isolation-based fear (protect us from people not like us). A fear of irregularity (eat at McDonalds, you know what to expect). A fear of thought (turn on the television). A fear of self (don’t stop moving). By examining evacuated suburban and corporate landscapes, the film reveals a peculiarly 21st century hollowness… an emptiness born of our collective faith in safety and technology. This is a new genre of horror movie, attempting suburban locations as states of mind.

Original electronic music by Kevin Drumm.

568MB | 34m 01s | 624×480 | avi

https://nitroflare.com/view/377D876CE9E00E4/In_Order_Not_To_Be_Here.avi

Language(s):English
Subtitles:None

The post Deborah Stratman - In Order Not to Be Here (2002) first appeared on Cinema of the World.