Comida (1992)

ou a sociedade canibal de Jan Svankmajer

UMA HISTÓRIA DE VENTO!!

Garantidamente, a melhor prenda que podiam dar a vocês próprios.

Um verdadeiro achado, entre a imensidão do Youtube. Um agradecimento à alma bondosa que tão bem partilhou.

UNE HISTOIRE DE VENT

JORIS IVENS (1988)

Mosqueteiro Moderno

A Modern Musketeer
ALLAN DWAN (1917)

"...Le cinéma avait une vie indépendente des hommes..."

Le Film à VenirRAÚL RUIZ (1997)

A máscara do demónio.

(activa o fullscreen do video)

BLACK SUNDAY
MARIO BAVA (1960)

: In love with

Dance of her hands
Tilly Losch (1930-33)

When you're a stranger...

I'M A STRANGER HERE MYSELF

NICHOLAS RAY , 1975

O animador.

L'Animateur - The Animator - Der Trickzeichner
EARTHLY DELIGHTS | NICK HILLIGOSS

DOUBLE DURAS!

Curtas de Marguerite Duras


Cesarée
1978

Cesarée (1978) from BelofBradford on Vimeo.

les mains négatives
1978

Les mains négatives (1978) from BelofBradford on Vimeo.

LOTTE REINIGER

Thumbelina
Lotte Reiniger

Thumbelina Lotte Reiniger
Enviado por BFIfilms. - Assista vídeos originais da Internet.

59 min de

ZORNS LEMMA
HOLLIS FRAMPTON (1970)

1ª curta.

Saute ma ville
CHANTAL AKERMAN (1968)

Ernesto de Martino.

La Terra Del Rimorso
Ernesto De Martino

No More Workhorse Blues

NO MORE WORKHORSE BLUES by Bonnie "Prince" Billy
video directed by HARMONY KORINE

IRANIAN PROTEST FILM

Untitled ('For Jafar Panahi & Mohammad Rasoulof') - Protest Film by (anonymous) Iranian Filmmaker from Cine Foundation International on Vimeo.

Apresentando

Conde Ferreira
Daltonic Brothers


conde ferreira

daltonic brothers | Myspace Video

via Patrick Mendes. Obrigada.

Screentests.

B&W 16mm Screentests
Matt Porterfield

B&W 16mm screen tests from Matt Porterfield on Vimeo.

VULTURE.

UNTITLED (VULTURE IN THE STUDIO)

João Onofre

The absurd can often be a revealing window into reality. Items out of context, people out of place heighten awareness and make deliberate reflection inevitable. João Onofre’s work Untitled (Vulture in the Studio) is just such a confrontation, offering a seemingly innocuous set – the artist’s studio – and imbuing it with an irrationality that leads the viewer into another realm of interpretation. At first, we see nothing but an empty studio, clear in its purpose, harmless in its implications. Slowly, we become aware of curious sounds infiltrating the space: ominous scratching, dragging steps. Casually expecting a human being, we are immediately set off balance by the appearance of an enormous vulture, displaced and frightened. The animal takes its time exploring the details of its confinement, pecking randomly at books and papers, jumping awkwardly from floor to shelf. As it balances itself tediously on its makeshift perch, it stabs violently at the paper trail left behind by the studio’s owner, wobbling uncomfortably, breathing heavily, unsettled by the restricted space. It attempts flight but is unable to really go anywhere, and we are left feeling rather sorry for this poor soul, trapped in a world that has no markers of its existence.

In Egyptian mythology, the vulture has been allegorized as a purifier, while in alchemy, the vulture is the symbol of sublimation, the relationship between the fixed aspects of life and the chaotic. This role of mediator is made even clearer in Onofre’s studio, as the bird tries to make sense of this world, our world of tangible limits and boundaries.

The overwhelming image of the impressive animal in turmoil, questioning and challenging its surroundings echoes the daily human struggle to deal with the constructed nature of our being. We are reminded that we are also active intermediaries between the ordered and the chaotic, and that despite our best efforts, we are often equally as frightened and displaced. But beyond the allegorical, beyond the symbolism, within the stifling borders of the artist’s studio, this great bird is also brought down to earth, back to reality. Out of its element, removed of its majestic context, it is after all just a bird, a bit too big, not very attractive, and very unsure of itself.

YEAH!

LOS ANGELES PLAYS ITSELF
THOM ANDERSEN

: The Big Swallow

The Big Swallow
James Williamson (1901)

: Nostalgia

(nostalgia)
Hollis Frampton

"In (nostalgia), Frampton is clearly working with the experience of cinematic temporality. The major structural strategy is a disjunction between sound and image. We see a series of still photographs, most of them taken by Frampton, slowly burning one at a time on a hotplate. On the soundtrack, we hear Frampton's comments and reminiscences about the photographs. As we watch each photograph burn, we hear the reminiscence pertaining to the following photograph. The sound and image are on two different time schedules. At any moment, we are listening to a commentary about a photograph that we shall be seeing in the future and looking at a photograph that we have just heard about. We are pulled between anticipation and memory. The nature of the commentary reinforces the complexity; it arouses our sense of anticipation by referring to the future; it also reminisces about the past, about the time and conditions under which the photographs were made. The double time sense results in a complex, rich experience." - Bill Simon

: The Seventh Horse of the Sun

Suraj Ka Satwan Ghoda

Shyam Benegal (1993)

1/18

A ORIGEM DO SÉC XXI

De l'origine du XXIe siècle

JEAN LUC GODARD (2000)

1/2

1º filme de JLG

Excerto de 7min de

Opération Béton

JEAN-LUC GODARD (1954)

Música, Gráficos, etc, de autoria desconhecida

West & Soda

west and soda
BRUNO BOZZETTO (1968)

final scene

VA BENE!!

CORREI, MORTAIS, CORREI
PARA O YOUTUBE.
ALVÍSSARAS PÚBLICAS
ÀS ALMAS GENEROSAS.



Otello
por Carmelo Bene














Agora ide, que há também AMLETO!

"...it all seems to evade from our present memory"

[film] memory
by Pedro Maia

SUPER 8 TRANSFERED TO BETACAM PAL, COLOR, STEREO, 7’, 2007

Film by Pedro Maia
Music by Panda Bear

Anna May Wong in

The Toll of the Sea
Directed by Chester M. Franklin (1922)

1/5

It's the first feature film produced using Technicolor.
Loosely based on Puccini's opera Madame Butterfly.

NEWSREELS.

ver online aqui:NEWSREELS

Importantes Newsreels americanos sobre a II Guerra Mundial, incluindo
os capítulos I e II da famosa série de sete episódios "Why we fight", produzida por Frank Capra

: Amor é

L'Ordre
JEAN DANIEL POLLET (1973)

O MÍNIMO GESTO.

Ode ao Cinema.


EL MÍNIMO GESTO
ELLES, ILS, ELLE, IL, TU, JE

Rouch.

Obituary: Jean Rouch

James Kirkup

THE CREATOR of at least 120 documentary films, all remarkable, the great French cineaste Jean Rouch and his works are known and appreciated by a select few among all the "fans" swarming to wallow in the latest trilogies of this and that. Though since my film-club youth I had always been enthusiastic about documentaries, it was not until June 1996 that I experienced the revelation of Rouch's incomparable cinematographic art at the Galerie du Jeu de Paume in Paris.

He was then in his 80th year, just one year older than myself, and this encounter with an unknown fellow spirit was one of the great events of my old age. The prospect of soon becoming an octogenarian filled me with excitement when I saw Jean Rouch's tall, upright figure and handsome face. It was the first of several sightings, mainly in the streets of Montparnasse and at the cafe known as Le Bal Bullier.

At the age of six, Jean was taken by his father, director of the Musee Oceanographique in Monaco, to a cinema in Brest showing Nanook of the North, Robert Flaherty's 1922 film about life in an Eskimo family. The next week, his mother took him to see Douglas Fairbanks as Robin Hood. The future film-maker was born under the twin stars of discovery and adventure.

In his youthful student days, back in Paris, he haunted cinemas and joined the circle of devotees organised by the future director of the Cinematheque Henri Langlois. However, in 1937 he entered L'Ecole des Ponts et Chaussees to train as a civil engineer. One year after the defeat of France in 1940, he managed to make his way to the West African state of Niger to construct roads and bridges.

It was there that he first succumbed to the fascination of traditional native rites. An elderly Sorko woman set out to purify the souls of 10 workmen struck by lightning - "a truly marvellous but horrifying ceremony", Rouch was later to recall -

and from that day on I realised that such an event could not be conveyed in writing or in photographs; it could only be captured on film, in colour and with sound.

In that great retrospective at the Jeu de Paume, I was entranced by the early works of what he called his "visual anthropology" from his first visionary masterpiece, paid for out of his own pocket, Au pays des mages noirs ("In the Land of the Black Seers", 1947), in which with a few friends he descends the Niger from its source to its magnificent espousals with the ocean.

By a miraculous concatenation of circumstances - through his fellow writer/ ethnologist Michel Leiris (whose L'Afrique fantome, 1934, had been an inspiration) and a joyous troupe of jazz fiends fired by black African rhythms - the film was brought to the bemused attention of the newsreel director of Actualites Francaises, who decided to schedule it, conditional upon the addition of commentary, music and the insertion of a few supernumerary indigenous animals, which gave what he considered was a suitably "colonialist" stamp of authority. The commentary was enthusiastically declaimed by the regular racing-cyclist authority on the Tour de France. Rouch rejected the result, though he accepted it as "a lesson in how not to approach the montage of a film".

His real entry upon the cinematic scene came one year later when Henri Langlois organised "A Festival of Forbidden Films" with the help of Jean Cocteau at Biarritz, where in 1949 the film that was awarded the Grand Prix du Documentaire was Rouch's ultra-realistic La Circoncision ("The Circumcision"), along with his Initiation a la Danse des Possedes ("Initiation to the Dance of the Possessed"). Rouch then composed a thesis on rituals of possession to accompany his film Les Maitres fous ("Masters of Madness", 1955), which was severely criticised for its "lack of objectivity" by certain academic ethnographers.

He was just as disrespectful of the current views of what "quality French cinema" should be with his preceding masterpieces Yenendi: les hommes qui font la pluie (Rainmakers, 1951), Cimetiere dans la falaise ("Cliff Cemetery", 1951), and Batailles sur le grand fleuve ("Battles on the Big River", 1950) - all three of which were later combined into a full-length feature entitled Les Fils de l'eau (The Sons of Water, 1958).

Jean Rouch's fame was spreading among film fanatics after he received the Venice Festival Grand Prix in 1957 for Les Maitres fous. In 1958, inspired partly by Jean Genet's 1958 play Les Negres, he made Moi, un noir (I, a Negro, 1958), which won the Louis Delluc Prize. His work had already attracted the young intellectuals and influenced the first films of the nouvelle vague including some who were to achieve fame and fortune - Claude Chabrol, Jean-Luc Godard, who was the first to welcome him to the select band of the New Wave film-makers, and the philosopher Gilles Deleuze.

"Cinema verite" was one of the terms used to express the realism of "cinema truth", a term invented by Rouch himself. It reached its full expression in a film he made in collaboration with the young sociologist Edgar Morin in 1960, Chronique d'un ete (Chronicle of a Summer, 1961), a work of radical originality set in the period of Algerian decolonisation and created entirely in the streets of Paris by means of a hand-held camera with synchronised sound. New technology had made cinema verite more than ever true to the truth.

Jean Rouch at 86 had lost some of his youthful energy but none of his wit and enthusiasm. With another great film-maker still not subdued by the constraints of old age, the veteran Portuguese master Manoel de Oliveira (a Firbankian nonagenarian), he made a film in Oporto centred on that city's Pont Eiffel, based on a poem d'Oliveira had written as a script.

En une poignee de mains amies ("In a Fistful of Friendly Hands", 1997) was a symbolic return to his first employment as a builder of bridges - he who built bridges of the creative spirit between blacks and whites all over the world. And whose final bridge was crossed in a car crash in the night in his preferred province, Niger.

Jean Pierre Rouch, ethnologist and film-maker: born Paris 31 May 1917; Director of Research, Centre National de la Recherche Scientifique 1966- 86; General Secretary, Cinematheque Francaise 1985- 86, President 1987- 91; married 1952 Jane George (deceased), 2002 Jocelyne Lamothe; died Konni, Niger 18 February 2004.

Copyright 2004 Independent Newspapers UK Limited

WATCH ONLINE

Cimetieres dans la falaise (1951)

Les Maîtres Fous (1955)

!

I Will... I Shant
: By Cioni Carpi



"Cioni Carpi, one of the most important artists of the twentieth century, used film like a canvas he could paint, producing cinematographic work akin to precious pieces of art. He is considered highly experimental and places particular emphasis on the relationship between sound and images. Recently Carpi's work was digitally restored by Cineteca Italiana, which is also the only place where this precious work is kept."YOUTUBE

SCAR TISSUE!

SCAR TISSUE
Su Friedrich

"Scar Tissue by Su Friedrich is a filmic version of a white canvas or a silent music piece.The fact that Friedrich never really shows the whole body, but rather plays off of body parts could be read as a desire to show less of the people on the screen, so that the viewer's reading can be generalized. If the "characters" existed as people, the images would inevitably read to be telling a story about these people. The legs and torsos do not signify people; it is the experience of these body parts and the rhythm with which they are portrayed that constitute the work."
for more: http://www.sufriedrich.com/

WATCH HERE

Festival Internacional de Curtas de 1 Minuto

filminute.com

: Amor Pedestre

Amor Pedestre
Marcel Fabre [1914]



Agradece-se ao Jorge Amaro!

This Is It!

"It's simple, inspired, and ecstatic. To watch Broughton's film you need a certain silence, a certain descending to the more subtle, more fragile levels of your being - otherwise, the film and its content will not reach you, it will break to pieces. I figure this is the main reason why films of the stature and subtlety and ecstasy of THIS IS IT never reach the New York Film Festival screen."
Jonas Mekas, The Village Voice

This Is It
JAMES BROUGHTON (1971)

AUTOGRAFIA

AUTOGRAFIA (DE MÁRIO CESARINY)
MIGUEL GONÇALVES MENDES (2004)

NOTA DO AUTOR:
Com este documentário pretende-se retratar, não o poeta e pintor Mário Césariny, mas sim a sua vida, o seu percurso e a sua individualidade.Sendo este um trabalho que vive sobretudo das questões colocadas (ausentes) e das respectivas respostas, optou-se por assumir como fio condutor um dos seus poemas "Autografia", que servirá de mote, através da sua análise para as questões intencionadas, de modo a que o filme assuma um carácter intimista, estabelecendo-se um diálogo entre quem vê e quem é retratado.
Neste documentário/registo existem vários planos: o de análise do poema; o das respostas; e do seu trabalho (exposto na sua intimidade) e o da nossa própria interpretação; uma espécie de respigar/reciclar de citações e de conteúdos que acabam por nos permitir uma apropriação de Mário Cesariny.



1/11

Antes de

"A History Of Mutual Respect", Gabriel Abrantes
já costurava mitos amazónicos :



Too Many Daddies, Mommies and Babies
GABRIEL ABRANTES (2009)

Too Many Daddies, Mommies and Babies: Clip from Gabriel Abrantes on Vimeo.

AMAZING!

Radiohead's Song NUDE
PERFORMED BY OLD HARDWARE

James Houston ( UK 2008)

Big Ideas (don't get any) from James Houston on Vimeo.