Watch Castle Two (1968) Online Free
Found film sequences brought together in the paranoia of the cold war and Vietnam.
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Casual Workers
An abstract perspective into two young South African workers in the heart of Johannesburg's industrial sector during Covid-19
2020
Measuring the Distance
The project explores urban edges as they correspond with the marginality of social groups who inhabit them. Distance, the anonymity of the architectural setup, decay, but also movement and interaction are subjects of a raw sketch that seeks to integrate a discussion about space and segregation into the discourse of the Common Good. The audio-visual language of the film uses a transparency and starkness of approach to reflect its subject matter. The fusion of architectural lines with sound through unexpected correspondences and synchronizations aims to generate a new kind of intermedial proposition.
2019
State of Rest and Motion
This cine-portrait of New York City uses digital effects to turn the countless riders of the subway system into living, breathing paintings.
2017
Highlights
Lights flicker & fade as focus shifts from artificial to natural light, ending on a second artificial light speeding through the blackened miasma of the night sky.
2017
The History of the Hands
The film is a study of nature and significance of the hands in cinema. Besides review of movements and actions, which creates an independent story, it reveals interactions and interdependence of cinematic traditions of various authors, countries and periods
2016
Irradiant Field
In the Mojave Desert, fields of solar panels follow the sun’s daily journey in perfect synchronicity.
2016
Untitled (Generali Foundation Vienna)
Philipp Fleischmann develops special cameras designed to formulate specific relations between the material of the footage (16 or 35 mm film) and the object of the recording. For instance, in his 2013 project “Main Hall,” he deconstructs the main exhibition hall of the Viennese Secession, filming the exhibition architecture with 19 individual cameras and thus creating images that show the view of the exhibition space onto itself. Fleischmann’s recent work, “Untitled (Generali Foundation Vienna)" identifies the film camera as a spacial object-form by itself. Correlating with the history of artistic interventions on site, the object is placed in the former exhibition space of the Generali Foundation at Wiedner Hauptstrasse 15, Vienna, and provided with a cinematographic view.
2015
House in the North Country
Described as being based on a play by Talaya Delaney, Kevin Jerome Everson' silent HOUSE IN THE NORTH COUNTRY is not your typical stage adaptation. For one, it is unclear where the rehearsal ends and the performance begins. Everson's close-ups offer a distinctly cinematic rendering of theatrical blocking, with the actors' repeated movements (a soldier’s salute, a woman's carrying a lit torch) taking on heightened significance. The plot remains obscure but Everson conjures a psychological intensity comparable to Maya Deren's studies for camera. - Max Goldberg
2010
Memory Vague
Created entirely from YouTube videos and edited in Windows Movie Maker, Lopatin recomposes outmoded video graphic landscapes via repetition and abuse.
2009
München, Raphaela
A film about a young woman's future plans in Munich, Germany. MUNCHEN, RAPHAELA (also known as RAPHAELA RING MUNCHEN) is part of Mike Plante's Lunchfilm series of commissioned shorts (made for the cost of a lunch between Plante and filmmaker Kevin Jerome Everson).
2006
I Have No Memory of My Direction
Ostensibly searching for an emotional connection with her aging father, the woman contemplates her own inherited culture and familial touchstones. Her North American pop culture sensibility fuses with a distorted Japanese perspective to create a surreal interpretation of a “Japan of the imagination.” This fictional landscape is peppered with invented Japanese myths, ruminations on memory loss, the temporal space of digital photography and the ghosts of inherited imagination.
2005
Man.Road.Cars.
Nearly devoid of editing resources, the videos feature single shots of anonymous people in daily life, subtly revealed/highlighted through zooming. Instead of uncovering reality, though, the videos end up turning it into pure invention. The “videorhizomes” are not limited to production and screening in regular, traditional circuits. The process includes sending the videos to a person that is randomly chosen from the phone book.
2003
Dreams of Ice
In 1992 the Universal Exhibition in Seville was held in Spain. Chile participated in this exhibition by displaying in its pavilion an ice floe captured and brought especially by sea from Antarctica. In these true facts is based the fantasy narrated in Dreams of Ice. Filmed between November 1991 and May 1992 on board the ships Galvarino, Aconcagua and Maullín, in a voyage that goes from Antarctica to Spain, in this documentary film in which dreams, myths and facts converge towards a poetic tale turned into a seafaring saga, in the manner of the legends of the seafarers that populate the mythology of the American continent and universal literature.
1994
The Baby of Mâcon
In 17th-century Tuscany, a church play is performed for the benefit of young aristocrat Cosimo. In the play, a grotesque old woman gives birth to a beautiful baby boy. The child's older sister is quick to exploit the situation, selling blessings from the baby, and even claiming she's the true mother by virgin birth. However, when she attempts to seduce the bishop's son, the Church exacts a terrible revenge.
1993
The Exquisite Hour
Half lullaby for the dead, half lamentation on the twilight of the cinema.
1989
Covert Action
Covert Action is a stunning melange of rapid-fire retro imagery accomplishing Child’s proclaimed goal to "disarm my movies." "I wanted to examine the erotic behind the social, and remake those gestures into a dance that would confront their conditioning and, as well, relay the multiple fictions the footage suggests (the ‘facts’ forever obscured in the fragments left us). The result is a narrative developed by its periphery, a story like rumor: impossible to trace, disturbing, explosive."
1984
Jeune femme à sa fenêtre lisant une lettre
Jean-Claude Rousseau's Jeune femme à sa fenêtre lisant une lettre is not only his first medium-length film, but a chance to discover this filmmaker whom Jean-Marie Straub has called, along with Frans Van de Staak and Peter Nestler, the greatest working in Europe. With this newly restored print there is also a possibility to discover the relationship between Rousseau's art of filming and Jan Vermeer's famous painting. As Prosper Hillairet wrote in 1988, four years after Rousseau had finished Jeune femme ... (for the first time as we know today): «Without adopting the usual systematic spirit and form of cinéma structurel, Rousseau presents us with simple images and leaves it at that. Keeps the image in hand. A minimalist and ascetic expression of cinema: a shot that lasts.»
1983
Tree of Knowledge
It started with filming the tree. Something was released in that manner of filming seemingly farthest removed from the procedure of the early films. I first thought a simple ordering of this rich material might be enough, something related to BARN RUSHES [...] But the film only came into its form-life with the idea of linking this deep-rooted and far-outreaching tree material with that film on paranoia that had fascinated me for many years. –L. G.
1981
Mirror
A dying man in his forties recalls his childhood, his mother, the war and personal moments that tell of and juxtapose pivotal moments in Soviet history with daily life.
1975
Running Shadow I
Rapidly changing images of natural objects, scenery, animals, plants, and people flicker, flash, tumble, and cascade across the screen.
1971