You Can't Put Your Arms Around a Memory 2021 streaming

TO BE is an introspection of the being, which covers life and existential issues through phrases and questions on top of a series of abstract images....

Naked bodies are buffeted by water accompanied by the music Il Temporale from the opera La Cenerentola and the overture to Il Barbiere di Siviglia both by Gioacchino Rossini....

The cinematic kiss is probably one of the most archetypical images to be found in film history. It is usually a reassuring and sometimes climactic element in a movie's storyline. Not in Nicolas Provost's 'Gravity' though: with stroboscopic effects, more than a dozen kissing scenes, most from stereotypical 1950s romantic dramas, are edited together and superimposed. Narrative is subverted as the kissing is isolated from its context entirely; the action slows down and flickers back and forth. Every now and then, shots from different films overlap and match; protagonists merge and diverge again a few seconds later. The sugary and dramatic soundtrack of romantic film music contrasts with the deconstructed images; together, they form a dazzling 6-minute vertigo where love becomes a passionate battle....

An overview of the art collection of Richard Winther....

Engel und Puppe is the first film by Italian filmmaker and writer Ellis Donda. Screened at Oberhausen in 1975, Engel und Puppe is a political adaptation of some lines from Rilke's Duino Elegies, featuring the French poet Jacqueline Risset and a young Rossella Or (soon to become an avant-garde theatre actress)....

The film depicts the lives of veterans of the 1848 Hungarian Revolution in the American Civil War, based in part on an Ambrose Bierce story. The whole film was re-edited using his own method called "light editing" in order to make it resemble a damaged silent film from the late 1800s....

Experimental feature about two young men trying to make a film....

A short film about the meeting of a Trappist monk and a Zen Buddhist master....

Originally edited in two versions. Version I, 70 minutes; version II, 90 minutes. (The only known existing version is not Markopoulos’s edit and contains additional titles, music and voice-over added later than 1961. 65 minutes.) Filmed in Mytilene and Annavysos, Greece, 1958. Existing copy on video, J. and M. Paris Films, Athens....

The final 17 years of American singer and musician Karen Carpenter, performed almost entirely by modified Barbie dolls....

a minimalistic audio visual composition you can play yourself....

Are you going to push yourself hard to behave according to what the authorities dictate until you become numb as a wilted wood? An experimental film about the pressure of conforming to the society. Accustomed to the standards, people are throwing judgment and prejudice against each other that squeeze them much harder towards the invisible walls. Hypocrisy is celebrated and there’s no room for moving and no space for breathing. Human senses may be the roots of all sins, but these senses are also the foundation of life....

"A study of place and presence through degrees of winter. The natural and artificial world commingle, and continued exposure strips the seemingly insignificant of prescribed meaninglessness. Emptiness fades, a natural presence emerges, ebb and flow holds sway over the moving image and shakes loose roles of setting or background.”...

Water runs under a bridge A church looms overhead A couple films each other on the shoreline Walking into a sea of chaotic filmic decay Super 8mm Kodachrome shot by my parents in 1985, and buried by myself in late summer of 2018....

Like a Wave in the Sea...

A day in the life of an 'organillero' as he plays his music in the streets of a Chilean city....

An observational film that using the fragmented format of a newscast program proposes a cinematic glance to the same reality depicted daily by the media....

Two fragments of 8mm home-movie footage shot by the artist near Berlin weave together in repeating cycles of action, temporal manipulation, and colour distortion, heightening the viewer’s awareness of film-time and the film-image, and perception of colour in motion....

Le Grice no longer simply uses the printer as a reflexive mechanism, but utilises the possibilities of colour-shift and permutation of imagery as the film progresses from simplicity to complexity… With the film’s culmination in representational, photographic imagery, one would anticipate a culminating “richness” of image; yet the insistent evidence of splice bars and the loop and repetition of the short piece of found footage and the conflicting superimposition of filtered loops all reiterate the work which is necessary to decipher that cinematic image. - Deke Dusinberre...

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