Passages

An enchanting moving painting. Digital colour shifts like a palette knife in greasy paint. For those who want to undergo the drug intoxication without chemicals. The work is made up of a compilation of material that the film maker has developed and processed in recent years. These are the fruits of many experiments within the limited visual possibilities of digital video. They are rooted in the experiments and observations of the experimental cinema, especially in the ‘psychedelic’ work from the 1960s and 1970s (by Pat O’Neil, Scott Bartlet, the Whitney Brothers, Stan Brakhage, Al Razutis, Peter Rose, Bruce Connor and Kurt Heyl, to name but a few), but also in the more pastoral work of Peter Hutton or Nathaniel Dorsky, while those predecessors were already present from the start in the work of Jost himself. This experimental influence could also be seen in Jost’s short films Portrait and Repetition (1963) and City (1964) and later also in films such as Canyon and Fall Creek, as well as in his first features Speaking Directly and Angel City. They are elements that keep coming back to the surface in the work of this film maker; also in his narrative films. When Jost started working exclusively with digital video, from 1996, the abstract and experimental elements became increasingly important. (GjZ)

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