Muscle Beach is a fascinating location for people-watching in the L.A. area, and in 1963, the strangeness of its sights was much more pronounced than today. Pat O’Neill’s first film (made with Robert Abel) progresses from humorous, curious observation to energetic, graphical interaction with the sights and sounds of Santa Monica’s famed beach. (Mark Toscano)
Also in this combined programme
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Documentary Footage
Morgan Fisher’s rarely seen early masterwork, in which an artist’s model gives an endlessly nuanced performance of self-investigation. -
7362
Pat O’Neill’s celebrated mind bomb, the L.A. film that launched a thousand other films. Contact printing, hand processing, and solarisation mix in a b -
Olivia’s Place
In 1966, Thom Andersen knew that Olivia’s Place would soon be gone, so he decided to make a film in order to save something of… -
Future Perfect
A camera follows a map through a defined space, while markings representing the camera’s movements appear on the film strip itself with increasing fre -
Dead Reckoning
A hand-held shot of a cross in the desert is reframed via optical printing, translating its pictorial movements to explicitly cinematic ones in a subt -
Hand Held Day
An entire Arizona day in six minutes of Kodachrome, breathtakingly contained in a small mirror held in the filmmaker’s hand. -
Mirror People
Kathy Rose’s absurdist animation features numerous grotesque characters noisily inhabiting an uncertain and uneasy environment. -
Venusville
The two filmmakers had a bet: how easily can you tell the difference between a moving image of a still object, and a freeze frame…
Film details
- Country of production
- USA
- Year
- 1963
- Festival edition
- IFFR 2011
- Length
- 10'
- Medium/Format
- 16mm
