Takashi Makino – Still in Cosmos (2009)

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Quote:
A product purposed of an installation project held at Tokyo Metropolitan Museum of Photography. Recomposed as completed film work in 2009.

It originally was theme for “Complete Chaos” visualized bydouble exposure method, however it appeared entire opposite phenomenon as “Birth of Cosmos”, and that is unparalleled miraculous story behind the film.

This film visually demonstrates the fact that human has ability to change Chaos to Cosmos.
A transcend Free Jazz sound is presented by band Osorezan commanded of Jim O’Rourke.
Now images and sound break the wall of the universe and plunge in the new world. Continue reading Takashi Makino – Still in Cosmos (2009)

Tony Gatlif – Canta, gitano (1982)

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One of the unknown Gatlif movies, a short one.
Best Short Film – Fiction (Meilleur court métrage de fiction)- Cesar 1983

Gatlif plays himself in this one…pretty nice to see the guy that made Vengo (another great one!) dancing in a red shirt…
Continue reading Tony Gatlif – Canta, gitano (1982)

Ferdinand Khittl – Das magische Band AKA The Magic Tape (1959)

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Das magische Band – West Germany 1959, 21 min.
Directed by: Ferdinand Khittl
Written by: Bodo Blüthner, Ferdinand Khittl, Ernst von Khuon
Cinematography by: Ronald Martini
Music by: Oskar Sala
Edited by: Irmgard Henrici
Cast: Margot Trooger, Ferdinand Khittl
Produced by: Gesellschaft für bildende Filme, München

One of the 3 short films that came as an extra on Edition Filmmuseum 47: Die Parallelstrasse AKA The Parallel Street (Ferdinand Khittl, 1962).

An innovative documentary on magnetic tape & sound recording, sort of in the style of Charles and Ray Eames. Continue reading Ferdinand Khittl – Das magische Band AKA The Magic Tape (1959)

Stephen Dwoskin – Chinese Checkers (1965)

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Chinese Checkers
Two women play Chinese checkers. Halfway through the film, the women are transformed through masks, make-up and costumes and they drift from a concentration on the board game to a concentration on each other’s hands and eyes, engaging in a game of seduction and lovemaking. Chinese Checkers was shot in New York in 1964 just before Dwoskin moved to the UK. It features Joan Adler and Beverly Grant and is based on a story by American experimental filmmaker Harry Smith. This film is not suitable for young audiences. Continue reading Stephen Dwoskin – Chinese Checkers (1965)

Marin Karmitz – Nuit noire, Calcutta (1964)

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Nuit Noire, Calcutta is the story of a writer, Jean (Maurice Garrel), who has come to the coast to complete a novel about the french vice consul in Calcutta. He does not find his task an easy one, and he struggles throughout to find adequate words for his story. Convinced, as he puts it, that the words do exist somewhere, he is shown repeatedly working on his manuscript, deleting sentences, or tearing pages in frustration. In the process he empties several bottles of whisky (hence the connection with the theme of alcoholism). As he writes, there is a story unfolding in the outside world that seems to parallel the one he is inventing, although it is not clear which of these is mirroring the other. The two series of events refuse to converge; but this enables the film to explore the ironical,metaphorical relationship between the imagenery, speculative world of Callcutta and the dunes and mudflats of the Seine estuary at Ouistreham. Continue reading Marin Karmitz – Nuit noire, Calcutta (1964)

Barbara McCullough – Water Ritual #1: An Urban Rite of Purification (1979)

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acqueline Stewart wrote:
Made in collaboration with performer Yolanda Vidato, Water Ritual #1 examines Black women’s ongoing struggle for spiritual and psychological space through improvisational, symbolic acts. Shot in 16mm black-and-white, the film was made in an area in Watts that had been cleared to make way for the I-105 freeway, but ultimately abandoned. At first sight, Milanda (Vidato, wearing a simple dress and scarves on her head and waist) and her environs (burnt-out houses overgrown with weeds) might seem to be located in Africa or the Caribbean, or at some time in the past. This layering of locations and temporalities continues to the film’s striking conclusion, in which a now nude Milanda squats and urinates inside an urban ruin. By making “water,” Milanda evokes the numerous female water-based figures in African-Diaspora cosmology as she attempts to expel the putrefaction she has absorbed from her physical environment, while symbolically cleansing the environment itself. Continue reading Barbara McCullough – Water Ritual #1: An Urban Rite of Purification (1979)