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Cinema Kaleidoscope: New and Old Avant-Garde
This program of a dozen films created between 1927 and 1998 offers no particular theme or historical angle, yet all the works are worth seeing. Jennifer Reeves's strangely sweet, dreamlike We Are Going Home (1998) shows people wandering around in a rural setting; one of its "highlights" is a toe-sucking scene. Eric Waldemar's hand-painted Know Knit Knot (1997) and Doot (1998) have a cool, detached quality that helps one focus on their shifting shapes. In Malcolm Le Grice's Berlin Horse (1970), repeated images of a galloping horse are intercut to emphasize film’s illusion of movement. Sewn (1997), a lush and sensual first film by Pablo de Ocampo, juxtaposes bubble shapes with tree imagery. Both Jeanne Liotta's What Makes Day and Night (1998), based on a geography instructional film, and Stephanie Barber's Shipfilm (1998), about a failed voyage, gently tweak their subjects' grand, world-spanning ambitions. Also on the bill: Barber's Flower, the Boy, the Librarian (1997), Leslie Thornton’s . . . Or Lost (1997), Oskar Fischinger's Munich-Berlin Walking Trip (1927), and Len Lye’s Kaleidoscope (1935) and Colour Flight (1938). |
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