Living for the Rad Hourani Couture presentation sequence! #mustown
Submitted by Wayne on Tue, 2015-02-03 14:46.
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Submitted by Wayne on Sat, 2014-12-27 19:40.
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Submitted by Wayne on Wed, 2014-12-10 17:37.
“Films, in my opinion, are hardly seen any more, since for me ‘seeing’ means the possibility of comparing. But comparing two things, not comparing an image and the memory that one has of it. Compare two images, and at the moment one sees them, trace certain relationships. But for this to be possible, the technical infrastructure that exists today needs to make it possible.”
Jean Luc Godard.
Submitted by Wayne on Fri, 2014-11-07 15:51.
Submitted by Wayne on Tue, 2014-09-23 23:46.
Current Viewing: L'Hypothese du Tableau Vole : (Hypothesis Of The Stolen Painting): Directed by Raoul RuizSubmitted by Wayne on Fri, 2014-08-01 14:54.
"Inspired by the idiosyncratic personality of author, theorist, and artist Pierre Klossowski whose densely cerebral erotic fiction was influenced by such notorious literary figures as the Marquis de Sade and the excommunicated surrealist Georges Bataille, as well as Klossowski's final novel La Baphomet, The Hypothesis of the Stolen Painting is an indelibly haunting, endlessly fascinating, and maddeningly abstruse composition on Pirandellian ambiguity and the inherent subjectivity of perspective."
Submitted by Wayne on Thu, 2014-07-31 15:47.
Ghost Dance, an experimental film by the British director Ken McMullen, is notable for its very leisurely pace, its occasional bizarre humor, its near-perfect opacity and the presence of two striking individuals: Jacques Derrida, the French linguistic philosopher, and Pascale Ogier, the late young actress whose doleful, mature face and mischievous manner held forth such great promise of a remarkable screen career. … Ogier and Leonie Mellinger, as the film’s two wandering heroines, appear in various bleak settings in London and Paris, while various quotations are delivered in voice-over and titles like “Myth: The Voice of Destruction, the Voice of Deliverance” divide the film into subsections.
— NY Times.