In an inspired setup, Morgan Fisher taps into the near-infinite nuance and complexity to be found in human performance. Unlike much narrative cinema, for which numerous takes are often required for actors to unlock the ideal natural performance, any more than one take would have destroyed this film and rendered it impossible. (Mark Toscano)
Also in this combined programme
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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 -
By the Sea
Pat O’Neill’s first film (made with Robert Abel) is an observation and transformation of the fascinating forms to be found at Muscle Beach in 1963. -
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
- 1968
- Festival edition
- IFFR 2011
- Length
- 11'
- Medium/Format
- 16mm
