Richard Myers – The Path (1960)

B&W, SILENT.

“Light as the symbol of the ineffable. The ‘plot’ of this subjective recreation of a dream seems to concern a mysterious journey; the spectator, however, is visually directed toward forms and substances rather than to the protagonists by a filmmaker who is a master of visionary cinema.” – Amos Vogel, Film as a Subversive Art

“Richard Myers has, thru his films, given us the ONLY consistently creative variable to dream-thinking in our time. All else, in film, slides toward surrealism and/or props itself with misplaced Freudian symbols, at best, or else gets lost in the Jung-le, at the verses. Myers’ work is rooted in what he doesn’t know about, just exactly what he knows – his own home grounds mid-America, and like D.W. Griffith he takes the great risk of being native to his art, attending it on its home-grown grounds/his-UNowned-dreams.” – Stan Brakhage Continue reading Richard Myers – The Path (1960)

Henri-Georges Clouzot – Les diaboliques AKA Diabolique (1955)

29f7c043f76a2bde437fd0d52a185152

Quote:
Among the most enduringly popular motives for murder, in films as in life, is the desire to remove an impediment to happiness—to get somebody, once and for all, out of the way. In life, of course, the goal of freeing oneself by canceling the existence of another human being is frequently thwarted by the haste and clumsiness of the means, the hot urgency of the killer’s drive overriding his better judgment about the care required to escape detection. His guilt becomes obvious, he gets caught, and that desperately hoped-for happiness flies out the window. Clever murderers—of whom there are, thankfully, many more in fiction and movies than in life—temper their homicidal passion with meticulous calculation, arranging their dark deeds with the tender artifice necessary to make unnatural death look natural. They’re artists, of a sort. And the fact that there is no such thing as a perfect murder or a perfect work of art has never stopped either a murderer or an artist from trying. Continue reading Henri-Georges Clouzot – Les diaboliques AKA Diabolique (1955)

Andrei Tarkovsky – Andrey Rublyov (1966) DVD

Free Image Hosting at www.ImageShack.us

29f7c043f76a2bde437fd0d52a185152

Presented as a tableaux of seven sections in black and white, with a final montage of Rublev’s painted icons in color, the film takes an unflinching gaze at medieval Russia during the first quarter of the 15th century, a period of Mongol-Tartar invasion and growing Christian influence.

Commissioned to paint the interior of the Vladimir cathedral, Andrei Rublev (Anatoli Solonitsyn) leaves the Andronnikov monastery with an entourage of monks and assistants, witnessing in his travels the degradations befalling his fellow Russians, including pillage, oppression from tyrants and Mongols, torture, rape, and plague. Faced with the brutalities of the world outside the religious enclave, Rublev’s faith is shaken, prompting him to question the uses or even possibility of art in a degraded world. After Mongols sack the city of Vladimir, burning the very cathedral that he has been commissioned to paint, Rublev takes a vow of silence and withdraws completely, removing himself to the hermetic confines of the monastery. Continue reading Andrei Tarkovsky – Andrey Rublyov (1966) DVD

Richard Myers – Akran (1969)

Free Image Hosting at www.ImageShack.us

B&W, SOUND.

Electronic music by Fred Coulter. With Bob Ohlrich, Pat Myers, Jake Leed, Mary Leed. “… a work of ambition and great technical virtuosity … there is enough going on in AKRAN to command anyone’s attention. And much of that is lovely and wonderfully difficult.” – Greenspun, The New York Times

“AKRAN by Richard Myers was unquestionably the discovery of the year …. It captures in rapid brilliant flashes the fears, the frustrations, the hang-ups, the hopes – the emotional texture of young people today …. It is a fascinating, penetrating film, and introduces Myers as one of the most original and creative independent talents around today.” – Arthur Knight Continue reading Richard Myers – Akran (1969)

Michael Wadleigh – Woodstock: 3 Days of Peace & Music (director’s cut) (1970)

Free Image Hosting at www.ImageShack.us

29f7c043f76a2bde437fd0d52a185152

from rottentomatoes:
Michael Wadleigh’s WOODSTOCK: THREE DAYS OF PEACE & MUSIC finds the best rock stars of the 1960s performing at the historic Woodstock Music and Art Fair, the most celebrated rock concert of all time. Shot over the course of three days in August 1969, the film conveys the unique spirit of the once-in-a-lifetime, communal event, and in turn, captures the mood of an entire era. Amazingly volatile, electrifying performances are included by such timeless artists as Richie Havens; Joan Baez; The Who; Sha Na Na; Joe Cocker; Country Joe and The Fish; Arlo Guthrie; Crosby, Stills and Nash; Ten Years After; Santana; Sly and the Family Stone; Jimi Hendrix; Canned Heat; John Sebastian; Jefferson Airplane; and Janis Joplin. In addition to the music, the film’s historical relevance is what makes it such an important time capsule, thrillingly eternalizing the legendary event for generations to come. Continue reading Michael Wadleigh – Woodstock: 3 Days of Peace & Music (director’s cut) (1970)

Tony Conrad – The Flicker (1965)

29f7c043f76a2bde437fd0d52a185152

Tony Conrad
«The Flicker»

A film consisting of only alternating black-and-white film images. During the projection, light and dark sequences alternate to changing rhythms and produce stroboscopic and flickering effects; and while viewing these, they cause optic impressions which simulate colors and forms. In the process, the film also stimulates physiological in place of psychological impressions, by not addressing the senses as such, but rather triggering direct neural reactions. Tony Conrad, who has devoted himself to an intensive study of the physiology of the nervous system, created with «The Flicker» an icon of the structural film, which succeeds without a narrative or reproducible imagery. Since the seen is not captured through the eyes, but rather first produced in the brain. Continue reading Tony Conrad – The Flicker (1965)

Éric Rohmer – Le genou de Claire AKA Claire’s Knee (1970)

29f7c043f76a2bde437fd0d52a185152

Quote:
“Why would I tie myself to one woman if I were interested in others?” says Jerôme, even as he plans on marrying a diplomat’s daughter by summer’s end. Before then, Jerôme spends his July at a lakeside boardinghouse nursing crushes on the sixteen-year-old Laura and, more tantalizingly, Laura’s long-legged, blonde stepsister, Claire. Baring her knee on a ladder under a blooming cherry tree, Claire unwittingly instigates Jerôme’s moral crisis and creates both one of French cinema’s most enduring moments and what has become the iconic image of Rohmer’s Moral Tales. Continue reading Éric Rohmer – Le genou de Claire AKA Claire’s Knee (1970)