Michael Robinson
Michael ROBINSON (1981, USA) was educated as a film and video artist at Ithaca College and the University of Illinois (Chicago). He has been making works of experimental cinema since 2001. Blending original and found materials, he creates collaged films exploring the emotional mechanics of popular media, the transcendent potential of heartache, and the instability of the collective realities we inhabit. Robinson’s work has been presented internationally at venues including MoMA, London’s National Portrait Gallery, The 2012 Whitney Biennial, The Austrian Film Museum, The Walker Art Center, REDCAT, RHA Dublin, and MMCA Seoul, and has screened in film festivals including Rotterdam, New York, Berlinale, Toronto, London BFI, Hong Kong, Sundance, Oberhausen and Ann Arbor.
Filmography
(all short) Carpenter (2001), Tidal (2001), The War of 1987 (2002), Opening Ceremonies (2002), Motel Flora (2003), Chiquitita and the Soft Escape (2003), First Cousins (2004), Birds of North America (2004), You Don’t Bring Me Flowers (2005), And We All Shine On (2007), The General Returns From One Place to Another (2007), Light Is Waiting (2007), Victory over the Sun (2008), Magician’s House (2007), All Through the Night (2008), Carol Anne Is Dead (2008), Hold Me Now (2008), What a Fool Believes (2009), If There Be Thorns (2009), These Hammers Don’t Hurt Us (2010), Line Describing Your Mom (2011), Circle in the Sand (2012), The Dark, Krystle (2013), Desert States (You Win Again) (2015), Mad Ladders (2015), Onward Lossless Follows (2017), Polycephaly in D (2021)
Michael Robinson at IFFR
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The General Returns from One Place to Another
Trouble in paradise and the theatre of operations. What is more discomforting the beauty at hand or the rumble just out of view?
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And We All Shine On
The pirate radio of the Beyond sings like the night wind through the leaves in the trees. We sing along and in the wake of confusion we dance and s
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You Don’t Bring Me Flowers
A geography lesson. An idyll in need of rescue, the lustrous pages of the world at your fingertips divided in two.
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All Through the Night
A charred visitation with an icy language of control. There is no room for love.
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Circle in the Sand
In a broken near future, vagabonds amble across a war-torn territory, rummaging, stuttering and smashing through the leftovers of Western culture.<
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The Dark, Krystle
Michael Robinson often borrows aspects of other TV series to give them another meaning. This time, it’s outrageous hair-dos and shoulder pads from
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Line Describing Your Mom
‘This is the new choreography of devotion’, proclaims the director. ‘This is the light that never goes out. This is the line desc
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These Hammers Don’t Hurt Us
The rebirth of Ancient Egypt, enchanting but with a critical note. With Cleopatra, naturally, but also The King of Pop.
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