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Trixi

Trixi is Dwoskin’s most convulsive version of his recurrent theme: the confrontation of a solitary girl with the camera. Shot in one continuous 8-hour session. Trixi records Beatrice Cordua’s responses to the situation, from initial shyness, fear and withdrawal through teasing and posturing to naked surrender and final exhaustion …. The camera is highly mobile; often confronting the girl in extreme close-ups, sometimes swooping down from overhead, sometimes searching to “recapture” her …. The camera itself is the object of erotic desire, [in] the sense of giving a performance shifting imperceptibly in a helpless self-exposure in response to its constant stare. Clearly, the form of the film was dictated by the response of the performer. Beatrice Cordua proves Dwoskin’s most expressive subject to date, and the film is correspondingly “open,” the camera having been willing to choose its tactics as direct responses.

Trixi

9.0 1969
Code 7, Victim 5

The first victim is the butler of South African millionaire Wexler, who hires hard-hitting private eye Steve Martin for protection. Once at Wexler’s palatial Cape Town estate, Martin meets the patriarch’s family, close associates – and possible suspects. When it’s discovered that the key to the killing may lie in an old war photograph, Martin sets out on a mission to unravel the identities of the men in the picture before they become target two through VICTIM 5.

Code 7, Victim 5

5.0 1964
Johnny Nobody

When the atheistic ranting of Irish-American author James Mulcahy upsets the inhabitants of the Irish village to which he has retired, a mob threatens him. But moments after he has dared God to strike him dead, a stranger appears and does so. The man, dubbed "Johnny Nobody" by the press, claims no knowledge of Mulcahy or even of himself. He asks the help of the village priest, Father Carey, in his upcoming trial for Mulcahy's murder. While the amnesiac Johnny goes to trial, Father Carey mulls questions of belief raised by the case. And then, the good father learns a little more about Johnny Nobody...

Johnny Nobody

6.6 1961
The Bushbaby

The young daughter of a park ranger in Tanzania is distressed to learn that she and her father must permanently return to England, thus separating her from the one thing she loves most, a pet Bushbaby. Fearing what the future holds she decides to set the pet free but while doing so misses the boat back to England. After meeting up with a friendly native they try to resolve the situation together. Things take a turn for the worse when it is falsely reported that the native has kidnapped her, thus putting a price on his head

The Bushbaby

6.5 1969
The Cut-Ups

Essentially a dizzying montage of quirky shots of legendary Beat Generation writer William S. Burroughs and noted surrealist artist Brion Gysin, this nearly 20 minute avant-garde short features repeated articulations of such random things as "Hello," "Where are we now?," and "Look at that picture" instead of music or standard dialogue. The narrative is decidedly nonlinear and perplexing, with no discernible plot whatsoever as we see images of Gysin working on his paintings and calligraphic designs and Burroughs rummaging through draws, packing a suitcase, giving a young man a physical, making a call in a phone booth, and waiting on a platform for a subway train.

The Cut-Ups

6.6 1966
Pop Go the Sixties!

1 - Credits > 2 - Who - I Can See For Miles > 3 - Adam Faith - What Do You Want > 4 - Adam Faith - Someone Else's Baby > 5 - Sandie Shaw - Always Something There to Remind Me > 6 - Sandie Shaw - Wiedehopf Im Mai > 7 - Marmalade - Ob-La-Di, Ob-La-Da > 8 - The Ascot Dancers - Satisfaction > 9 - Kinks - Days > 10 - H. Jankowski - A Walk In The Black Forest > 11 - Hollies - He Ain't Heavy > 12 - Helen Shapiro - Walkin' Back to Happiness > 13 - Tom Jones - Delilah > 14 - Cilla Black - Anyone Who Had A Heart > 15 - Shadows - Apache > 16 - Cliff Richard & Shadows - Bachelor Boy > 17 - Cliff Richard - Congratulations.

Pop Go the Sixties!

NR 1969