It's a Zabriskie, Zabriskie, Zabriskie, Zabriskie Point Backdrop Blur
It's a Zabriskie, Zabriskie, Zabriskie, Zabriskie Point Poster

It's a Zabriskie, Zabriskie, Zabriskie, Zabriskie Point

"Desert, culture, counterculture"

Worlds collide in this unconventional essay film, when filmmaker, film historian, and archivist Daniel Kremer seamlessly edits Michelangelo Antonioni's legendary but controversial counterculture art film Zabriskie Point (1970) into the same narrative universe as Stanley Kramer's madcap epic comedy extravaganza It's a Mad, Mad, Mad, Mad World (1963). In creating these new sequences, Kremer comes to recognize that the exercise effortlessly draws cultural and historical parallels in twentieth-century American life that echo in present-day America. The editorial mashups weave a tangled web of social and cinematic history that root our notions of Americana in the mythology of the desert. As Kremer expounds in his narration on these often astonishing and sometimes shocking associations, his very personal ties to the subject matter become manifest.

Top Cast

  • Daniel Kremer

    Daniel Kremer

    Narrator

  • Rob Nilsson

    Rob Nilsson

    Self / A Friend

  • Daria Halprin

    Daria Halprin

    Daria (archive footage)

  • Mark Frechette

    Mark Frechette

    Mark (archive footage)

  • Milton Berle

    Milton Berle

    Russell (archive footage)

  • Sid Caesar

    Sid Caesar

    Melville Crump (archive footage)

  • Buddy Hackett

    Buddy Hackett

    Benjy Benjamin (archive footage)

  • Ethel Merman

    Ethel Merman

    Mrs. Marcus (archive footage)

  • Jonathan Winters

    Jonathan Winters

    Lennie Pike (archive footage)

Overview

Worlds collide in this unconventional essay film, when filmmaker, film historian, and archivist Daniel Kremer seamlessly edits Michelangelo Antonioni's legendary but controversial counterculture art film Zabriskie Point (1970) into the same narrative universe as Stanley Kramer's madcap epic comedy extravaganza It's a Mad, Mad, Mad, Mad World (1963). In creating these new sequences, Kremer comes to recognize that the exercise effortlessly draws cultural and historical parallels in twentieth-century American life that echo in present-day America. The editorial mashups weave a tangled web of social and cinematic history that root our notions of Americana in the mythology of the desert. As Kremer expounds in his narration on these often astonishing and sometimes shocking associations, his very personal ties to the subject matter become manifest.

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