Disparate, Shifty Fate

Summer 1890. In order to make some money to feed his family, Anton Chekhov, modest physician, wrote short stories for newspapers to sign Antosha Tchékhonté. Important characters, writer and editor, just make him aware of his talent. His situation is improving and Anton Chekhov gets the Pushkin prices and admiration of Tolstoy. But when one of his brothers died of tuberculosis, Anton saw it as a personal failure and wants to escape his fame and his love.

A sexual reverie unfolds over the course of one ethereal night. Characters wander through an erotic maze of love and lust, blurring the lines between wet dream and lucid nightmare as a macabre, erotic stage performance sends a ripple of lustful desires through its audience and performers.

When an armed, masked gang enter a Manhattan bank, lock the doors and take hostages, the detective assigned to effect their release enters negotiations preoccupied with corruption charges he is facing.

Guido Anselmi, a film director, finds himself creatively barren at the peak of his career. Urged by his doctors to rest, Anselmi heads for a luxurious resort, but a sorry group gathers—his producer, staff, actors, wife, mistress, and relatives—each one begging him to get on with the show. In retreat from their dependency, he fantasizes about past women and dreams of his childhood.

In the midst of the Russian Revolution of 1905, the crew of the battleship Potemkin revolt against the brutal, tyrannical regime of the vessel's officers. The resulting street demonstration in Odessa brings on a police massacre.

A man wanders out of the desert not knowing who he is. His brother finds him, and helps to pull his memory back of the life he led before he walked out on his family and disappeared four years earlier.

James Sumner directs and animates the entire Dirty Projectors’ The Getty Address.

When Naomi, a young refugee from Nazi-occupied Paris, moves into Alan Silverman’s building in New York, he does his best to avoid her. But despite Naomi's strange behavior and the language barrier, they slowly develop a deep and touching friendship.

A young girl’s fiery dance, accidentally caught on 16 mm film in the street. The viewer is confronted by the sacrificial and the passionate, the strong and the fragile, the fleeting and the eternal. These are the faces of femininity.

Sex always gets in the way of friendships between men and women. At least, that's what Harry Burns believes. So when Harry meets Sally Albright and a deep friendship blossoms between them, Harry's determined not to let his attraction to Sally destroy it. But when a night of weakness ends in a morning of panic, can the pair avoid succumbing to Harry's fears by remaining friends and admitting they just might be the perfect match for each other?

Procedurally-generated frames slowly expand in density to visually explore the mind of a psychopathic, narcissistic teenager, up until the demise of the subject.

A man without his own half of the body is looking for the other half in the opposite sex. As for the integrity of his body, so for the sake of emotional healing.

Rado, an orphan from a poor Sofia neighborhood, has been in and out of school for troubled youth for years. Although he is approaching adulthood, he is yet to finish 8th grade. He cannot reconcile his pride and sense of justice with the kind of education provided by people who are deprived of sensibility and human warmth. Rado asserts his right to freedom by frequently running away. During one of his escapes he meets the love of his life, Albena. She is a good student, and comes from a well-educated, sophisticated family. This new and unexpected connection intensifies Rado's desire for freedom and independence, and leads them both into uncharted territory.

When the strongest earthquake in a century hit Mexico in 2017, everyone had eyes on the rescue of 12-year old Frida - until the story took a very strange twist.

"Frozen Jumper" begins in hit-and-run style with a pulsating textural noise. Flickering, nearly rectangular patterns join on the image plane, at first in black-and-white, bringing to mind the sprocket holes in celluloid film and, not least due to the lack of geometric precision, giving the impression of a pre-digital origin. As the soundtrack rattles on in a minimalistic way, the pattern’s twitchy dance is submerged in various warm hues such as yellow, pink, light green and light blue, which in a different rhythm and to a more agreeable music could be perceived as the signature of slightly retro psychedelia.

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Shortly before his death, Romitelli together with his friend Paolo Pachini and the poetess Kenka Lèkovich, resurrected the dream of a total scenic art (a furnace of sensations, they called it, an_ initiation rite_) in the manner of the Futurists: rhythms and gleams of light striking metals (for the video part), poems in iron and chrome singing of fusion with matter (Kenka Lekovich), acoustic/electric music highly amplified, filtered, spatialised, in as artificial a manner as possible. An Index of Metals bears vigorous witness to this determination to go beyond: sizzling orchestration, electric and psychedelic; a voice which plays on effects, murmurs with reverb, cackles into a megaphone, screams like a pop star; and an electric guitar score of a kind that no ‘serious’ composer has ever written, sliding across an infinite range of tones with a lightness of touch and blurring of contours.

A film that places the bright and dark sides of life close together. From an understatement beginning, the movie drives up to an ecstatic highlight with a love act between two young people. The orgasm becomes an enormous image flow into the crematorium's death machine.

Live concert of the German band Unheilig, recorded on March 4th 2004 in Nuremberg, Germany.

A film in five different sections, each containing a different soundscape by Ostrowski. Hand painted film, intense exposure, morphing textures and shapes into a seamless whole; geometrical games sabotaging themselves; and the incessant lure of the abstract paint drift. The soundscapes, of course, build up like fountains of picture, oscillating between contemplative sculptures with electronically manipulated strings and harsh noise attacks on our senses. Despite the use of sound as a central filmic element, Cyanonide stands as a proof of the enduring influence of Brakhage on american avant-film.