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April 7, 2010

Johan Grimonprez: Double Take Review Coming Soon

Filed under: Movies — Matty @ 3:20 pm
Johan Grimonprez, Double Take

Johan Grimonprez, Double Take Advert

Forthcoming Review of Johan Grimonprez: Double Take

The opportunity came up to receive a review copy of this film from Soda Pictures, and of course, I took it. Based on an earlier post on Double Take by Grimonprez that featured a bunch of video excerpts, I think the PR company behind the film found me through Google, and here we are. I have to say, I’m more excited about reviewing this film than I am about doing most things in life right now. Stay tuned for news on that as I’m going to try and get it published somewhere off-site first…. (more…)

August 7, 2009

On Heroic Journeys and Germans Abroad

Filed under: Movies — Matty @ 2:11 pm

Trailer for Herzog’s Fitzcarrlado

July 21, 2009

Kenneth Anger: Rabbit’s Moon

Short Films of Kenneth Anger: Forever Hollywood Cemetery Screens Rabbit’s Moon

This past Sunday night, Cinespia screened several short films of Kenneth Anger at the Hollywood Forever cemetery. I can think of few better ways to see these films, any of them really, than under the stars in a cemetery with silhouetted palms swooping overhead like gigantic Seussian creations.

Among my favorites is a shorter work whose final edit was made by Anger in 1979. Not touched since the previous (second) edit from 1972, Anger pared down the songs to Andy Arthurs “It Came in the Night,” rather than the original mini-soundtrack that featured several 60’s pop and doo-wop songs that loosely toyed with the themes of night and moonlight.

1972 Edit of Kenneth Anger’s Rabbit’s Moon, Part 1

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May 21, 2009

Double Take by Johan Grimonprez

Unpacking Johan Grimonprez’s Film, Double Take
Double Take (“But It Is 1962″)

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April 28, 2009

Thoughts on Orson Welles: The Trial

Making Connections Based on Themes in The Trial

The film The Trial is based on the novel of the same name by Franz Kafka, and without a doubt, translates quite easily to the screen in so much as it retains all of the qualities of any Kafka work – severe, questioning, dream-like and hyper-real.

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