Tag: avant-garde film

On Peter Handke’s The Left-Handed Woman (1978) an analysis

  by Jacqueline Valencia Note: This is part of our coverage of  TIFF Bell Lightbox’s On the Road: The Films of Wim Wenders  This essential retrospective devoted to one of the giants of the New German Cinema features new digital restorations of Wenders’ essential early works. Jan. 28 – March 6,

On Kenneth Anger’s Lucifer Rising (1972)

by Jacqueline Valencia Lucifer Rising is perhaps the  most elaborate of Kenneth Anger‘s films. With locations in Egypt, England, and Germany, Anger conned the Egyptian government into believing he was making a documentary about Egyptian peoples. In fact, he was making a film about Egyptian gods summoning the age of Lucifer. The

On Alan Resnais’ Last Year of Marienbad (1961)

by Jacqueline Valencia The thing about this movie is how it keeps repeating. It gets copied, distorted, spliced, and re-analyzed through other people’s films ad nauseam, and with good reason. The genius in Last Year of Marienbad is in its reiteration of enigmatic patterns that obfuscate real meaning in life.

The 8 Fest: a short defense of short/small gauge film

by Jacqueline Valencia It’s been an amazing week of watching short films. Sometimes I had the opportunity to screen some of these in the comfort of my home for review or interpretation. Occasionally I’d get a comment from a passerby wondering what the hell I was watching. I’d have to

On Stan Brakhage’s Mothlight (1963).

by Jacqueline Valencia “What the hell did I just watch?” was a common utterance after an experimental film in cinema studies class. It’s also exhilarating to hear from fellow students who wanted to make or critique film, but had been exposed to Steven Spielberg or other filmmakers of the blockbuster

On Maya Deren and Alexander Hammid’s Meshes Of The Afternoon (1943)

by Jacqueline Valencia I only got seriously into film until I started watching experimental film. It was out of the creative potboiler the audio-visual television freak outs of the 1980s.  When MTV premiered (or rather in Canada, MuchMusic), the idea that a mini-music commercial could be artistic, gave everybody license

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