Free-associative images are juxtaposed with disorienting poetry in Richter's late work. The film is visual dynamite: Upside-down and reversed footage, play with shadows and light, billiards and dice and balloons-- suggestive and surreal images. Tenets of Dada writing, such as games of chance, punnery, wordplay and loud nonsense noise are foist upon the viewer as Dada poems are read / performed by their orignal authors.
Jean Arp
Voiceover
Marcel Duchamp
Self / Voiceover
Raoul Hausmann
Voiceover
Richard Huelsenbeck
Voiceover
Marcel Janco
Voiceover
Georges Ribemont-Dessaignes
Voiceover
Walter Mehring
Voiceover
Man Ray
Voiceover (archive audio)
Kurt Schwitters
Voiceover (archive audio)
Free-associative images are juxtaposed with disorienting poetry in Richter's late work. The film is visual dynamite: Upside-down and reversed footage, play with shadows and light, billiards and dice and balloons-- suggestive and surreal images. Tenets of Dada writing, such as games of chance, punnery, wordplay and loud nonsense noise are foist upon the viewer as Dada poems are read / performed by their orignal authors.
Stop-motion photography blends with extreme slow-motion in Clair's first and most 'dada' film, composed of a series of zany, interconnected scenes. We witness a rooftop chess match between Marcel Duchamp and Man Ray, a hearse pulled by a camel (and chased by its pallbearers) and a dizzying roller coaster finale. A film of contradictions and agreements.
In the seedy domain of Miami’s criminal underbelly, a seasoned hitman embarks on the relentless pursuit of his next target. As shot entirely through thermal lens, he navigates a twisted world where violence and madness reign supreme. Tensions unravel, leading to a psychedelic journey that blurs the lines between predator and prey.
Ballet Mécanique is a Dadaist, post-Cubist art film conceived, written, and co-directed by the artist Fernand Léger in collaboration with the filmmaker Dudley Murphy. It has a musical score by the American composer George Antheil.
A three-chapter (Hell, Purgatory and Paradise) meditation on the city of Sarajevo in the wake of the Bosnian war, on Palestine and Israel, and on war itself.
"แซม" (แอนดรูว์ การ์ฟิลด์) ชายวัย 33 ปีที่ใช้ชีวิตสนุกไปวันๆอย่างไม่มีจุดหมาย จนเมื่อเขาได้พบและตกหลุมรักกับ "ซาราห์" (ไรลีย์ คีโอ) หญิงสาวลึกลับที่สระว่ายน้ำในอพาร์ตเมนต์ แต่ในวันรุ่งขึ้นซาราห์ได้หายตัวไป แซมจึงลงมือทำภารกิจในลอสแองเจลิสเพื่อถอดปริศนาหาเบาะแสการหายตัวไปของเธอ จนปริศนาเหล่านั้นนำพาเขาไปสู่เรื่องราวอันลึกลับ และอื้อฉาวที่ซ่อนอยู่ในเมืองแห่งนี้
Un Chien Andalou is an European avant-garde surrealist film, a collaboration between director Luis Buñuel and Salvador Dali.
An exploration of technologically developing nations and the effect the transition to Western-style modernization has had on them.
In Le Livre d’Image, Jean-Luc Godard recycles existing images (films, documentaries, paintings, television archives, etc.), quotes excerpts from books, uses fragments of music. The driving force is poetic rhyme, the association or opposition of ideas, the aesthetic spark through editing, the keystone. The author performs the work of a sculptor. The hand, for this, is essential. He praises it at the start. “There are the five fingers. The five senses. The five parts of the world (…). The true condition of man is to think with his hands. Jean-Luc Godard composes a dazzling syncopation of sequences, the surge of which evokes the violence of the flows of our contemporary screens, taken to a level of incandescence rarely achieved. Crowned at Cannes, the last Godard is a shock film, with twilight beauty.
เรื่องราวเกี่ยวกับชีวิตสมัยใหม่และความไม่สมดุลกันอย่างน่าตกใจที่ถูกทำเป็นภาพยนตร์เป็นเรื่องราวแรกในภาพยนตร์ไตรภาคก่อนเรื่องโพวาคัทสึ
Against a plain, unchanging blue screen, a densely interwoven soundtrack of voices, sound effects and music attempt to convey a portrait of Derek Jarman's experiences with AIDS, both literally and allegorically, together with an exploration of the meanings associated with the colour blue.