Thirty-six layers of water aligned to create a perfect circle. 2 of 2
Social & External
Cozy up to a Christmas hearth and be warmed by a soothing and joyful atmosphere of holiday merriment, perfect for adults, families, and friends.
The observer gazes at the water, symbolizing life, & attempts to move upstream against the flow. When he reaches the source, he finds the struggle too much to bear. Eventually he decides to relax by the water, watching it flow by, embracing the calm. The water sound was recorded in Gheshm, Iran, while the visuals are from Abraham Lake & Jasper National Park, Alberta, Canada.
A biologist signs up for a dangerous, secret expedition into a mysterious zone where the laws of nature don't apply.
A Landscape documentary about the silent voids the living inhabit after everyone they love has gone.
Outtakes, commentary from Zefier's third film: Jo; or The Act of Riding a Bike.
Set over three generations and beginning with a sexually frustrated orderly during WWII who relieves his tensions in the most outlandish, gross ways. The result of his liaison is a glutton who grows up to be a champion speed eater. He produces a child who becomes obsessed with taxidermy.
Walking through the lost boundaries of the kingdom, our hero finds his greatest enemy.
The film choreographically covers the distance between two women and their mirroring selves, under Laurie Spiegel's soundscape and with the ambiance of VHS video. Their bodies, sometimes two and others four, are always connected with a rope, influenced by white noise retro interference, sound scratches and pauses. They approach each other until they connect and then finally completely disappear, nullifying the distance between them. The reverse movement of these similar bodies-idols aims to compose a dance of the two and the one, our close and more distant self and to reach to the void in between them.
Human, Tears, Art
A comfortable rhythm composed of light and shadow. Director Ogino-style absolute movie which freely manipulates geometric figures.
A boobs flasher tells us, a boobs flasher lets us see.
Island of Java, 1942, during World War II. British Major Jack Celliers arrives at a Japanese prison camp, run by the strict Captain Yonoi. Colonel John Lawrence, who has a profound knowledge of Japanese culture, and Sergeant Hara, brutal and simpleton, will witness the struggle of wills between two men from very different backgrounds who are tragically destined to clash.
Fragments of interesting people and things amongst a handful of D train stops in Queens, New York. Filmed on Super 8 mm.
A dynamic, contemporary dance performance about how it is impossible to explain your deepest wishes or desires... how these can only be expressed in dreams and sleep. In the final sequence, we see the importance of effort and hope in the dancers' attempt to escape gravity. The all-male company performs to the music of David Byrne.
Iain Syme returns to his family’s farmland in the Scottish Borders and attempts to sell it off to a mysterious local landowner. However, his brother Cammy, a hermit who still lives on the land, has different ideas...
In the fall of 1987, Philippe Haas accompanied the sculptor Richard Long to the Algerian Sahara and filmed him tracing with his feet, or constructing with desert stones, simple geometric figures (straight lines, circles, spirals). In counterpoint to the images, Richard Long explains his approach. Since 1967, Richard Long (1945, Bristol), who belongs to the land art movement, has traveled the world on foot and installed, in places often inaccessible to the public, stones, sticks and driftwood found in situ. His ephemeral works are reproduced through photography. He thus made walking an art, and land art an aspiration of modern man for solitude in nature.
HE, the third work in the ongoing collaboration between Rouzbeh Rashidi and actor James Devereaux, is a troubling and mysterious portrait of a suicidal man. Rashidi juxtaposes the lead character’s apparently revealing monologues with scenes and images that layer the film with ambiguity. Its deliberate, hypnotic pace and boldly experimental structure result in an unusual and challenging view of its unsettling subject.
Self Decapitation is a Janus-headed self-portrait by Rouzbeh Rashidi and Maximilian Le Cain in which death and desire each take possession of this film in two parts. The ambiguities of inhabiting a human body are conjured by way of film technology in its faults, faulty memories and false promises. There is no escape from its haunting – except perhaps to haunt it in turn…
Dusk or dawn, stuck in subconsciousness until we can’t separate between the true self and appearances. Is it even possible that we will be free from our own sake?
