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Archive for the ‘Experimental Cinema’ Category

William Brown’s En attendant Godard (2010) – Zero Budget Feature Filmmaking

Monday, September 29th, 2014

No money? No problem! William Brown’s brilliant feature film was shot digitally on almost nothing at all.

Even in the era of lightweight digital cinema, I constantly hear the complaint that “I’d just make a movie if I had the money,” or “you can’t make a movie without any money” or words to that effect, but in fact, you really can. All it requires is a decent quality digital camera, some friends as actors, and an intelligent scenario shot on location, and – providing you know what you’re doing, can come up with an original concept, and that everyone involved knows that there’s going be no money for anything – very 1960s underground filmmaking – then you’ll be OK. Think of Ron Rice’s The Flower Thief, one of my favorite films, or Jack Smith’s Flaming Creatures, both shot in the early 1960s on non-existent budgets on 16mm film. Now, with digital video, you don’t even need that. You do, however, need a vision, and once you have that, you have it all.

When En attendant Godard was screened at the CPH PIX film festival in Copenhagen in 2010, the program notes commented that “one has to pay close attention if one hopes to capture the many references to the new wave icon Jean-Luc Godard in William Brown’s humorous tribute to the French film director, who already in 1967 declared that film was dead – and who has since continued undauntedly to revolutionize its formal language from the margins. And even if some knowledge about the French director would not be a disadvantage, it is far from obligatory.

Like a tour de force through the French director’s collected works, Brown has created a story, which is as hard-boiled as it is unrestrained, about the loners Alex and Annie, who set out to find Godard, and suddenly have a double homicide and a ménage à trois on their conscience. En attendant Godard is a funny tribute to one of the biggest geniuses of film history, and it also shows how one can make use film as film criticism – without in any way needing to be hyper-intellectual. ‘All you need is a girl and a gun’, Godard famously said about making films. With his impressive zero budget debut William Brown both pays tribute to and corrects his master – and subtly underlines what we perhaps already knew from the beginning, that all we really need is a girl and Godard.”

Critic Jonathan Rosenbaum agreed, citing En attendant Godard as one of the Top Five Films of 2009 in Sight and Sound magazine – alongside films by Abbas Kiarostami and Alain Resnais. Pretty impressive for a film made for practically nothing at all — just raw talent, determination, and the desire to make a feature film that isn’t a genre film, or another horror film, but rather something that’s both intellectually stimulating and adventurous – something that moves outside the boundaries of the known into a realm of endless possibilities.

Best of all, you can see the film right here, right now, by clicking here, or on the image above.

Two UNL Film Studies Students Have Work Screened at Cannes

Tuesday, May 27th, 2014

Aliza Brugger and Collin Baker, both UNL Film Studies students, recently had their films screened at Cannes.

As this story by Leslie Reed of the UNL News Service notes, “Brugger’s first work as a director, a seven-minute film called ‘The Pursuit of Happiness,’ was among those screened at the international film festival. It was one of two films directed by UNL film studies students at the annual film festival. Collin Baker’s eight-minute film, ‘Over Forgotten Roads,’ also screened. Brugger and Baker are the first two UNL students to have a film screened at Cannes. Several thousands of short films are submitted each year for consideration by the festival; Brugger’s was one of 31 selected for screening through the American Pavilion, the center of activity for the American film community at Cannes. UNL’s Wheeler Winston Dixon, professor of film studies and English, described the Cannes selection of Brugger’s film as a ‘distinct honor.’”

On her way back to the States, Aliza filed this report – “coming from Lincoln, Nebraska and having never been in Europe, let alone Southern France, entering the city of Cannes was quite a shock. It is a beautiful city. Much like Southern California, it’s engulfed by palm trees, aqua blue water and gorgeous weather. Also much like Southern California, Cannes is engulfed by the film business.

Plastered all over the shops and walls of Cannes were advertisements for the festival and the films showing. Needless to say, as a Film Studies student, I was elated. Not only was I going to get to watch a plethora of films, but my first short film as a director was also going to be screening at the festival. I was certain it was going to be an amazing two weeks.

There were so many things I learned, and so many people I met. I met many filmmakers who were genuinely passionate about the art of film, like myself. I was able to make real and probably much longer lasting connections with my own peers. Throughout the program our mentors repeatedly told us that these are the connections that matter, and by the end of the festival I realized it to be true.

I was able to meet several young filmmakers who are also pursuing their dreams, which has given me a real sense of community. I also met many of the other interns’ mentors who were familiar with jobs and internships where I would fit in quite well, so now I have whole set of new connections. The doors are now wide open!

Some really beautiful films that I watched during the festival included Timbuktu, Lost River, Goodbye to Language, Charlie’s Country, and Finding Eleanor Rigby. The screening of my own film, The Pursuit of Happiness, really went quite well. Almost 50 people saw it, and I received a really great response from the audience, who thought it was an interesting and innovative way to tell a story, which obviously made me quite proud.

I can’t express enough how glad I am that I attended this festival. I learned so much about the business, and about how it works. More than anything, it has given me a lot to think about regarding where I want to be in the world of film, and I look forward to making new contacts, and creating new projects.”

Congratulations Aliza and Collin, and much success in the future!

UNL Film Studies Students at The Cannes Film Festival

Sunday, May 25th, 2014

The Cannes Film Festival has just wrapped up; here’s Marcello Mastroianni in the festival poster.

And the winners are: Palme d’Or – Winter Sleep, dir: Nuri Bilge Ceylan; Grand Prize - Le Meraviglie (The Wonders), dir: Alice Rohrwacher; Best Director – Bennett Miller, Foxcatcher; Jury Prize – Tie - Mommy, dir: Xavier Dolan and Goodbye To Language, dir: Jean-Luc Godard; Best Screenplay – Andrey Zvyagintsev, Oleg Negin, Leviathan; Best Actress – Julianne Moore, Maps To The Stars; Best Actor – Timothy Spall, Mr Turner; Camera d’Or - Party Girl, dirs: Marie Amachoukeli, Claire Burger, Samuel Theis; Short Film - Leidi, dir: Simón Mesa Soto.

I agree with the awards, for what it’s worth – this seems to have been a lively and exciting festival, though how these films will do in the rapidly shrinking commercial marketplace is another question altogether – but we can hope. It’s nice to see Godard win something at last; nice also to see Bennett Miller, Julianne Moore and Timothy Spall emerge as victors; this year’s festival seemed to look both to the past – with Godard – and to the future, with Nuri Bilge Ceylan’s Winter Sleep and Xavier Dolan’s Mommy.

The Film Studies Program at UNL had a connection to the festival, as four of our students in the Film Studies Program – Aliza Brugger, Collin Baker, Thomas Peterson and Alannah Kennedy. – were working as interns in the American Pavilion at the festival, and two students, Aliza Brugger and Collin Baker, actually had short films screened at the festival.

We’re also going to be represented at Cannes next year, as the American Pavilion was very happy with the work of our students, and they’ve already contacted us again for the next edition of the festival. Needless to say, for our students in Film Studies, this was a real opportunity, and one which we hope will continue. Thanks to Kelly Payne, our chief adviser in Film Studies, for setting this up – much appreciated. It’s one more step towards international visibility.

So now we’ll see what next year brings; congratulations to all the winners and participants!

Goodbye to Language, or, Godard in 3-D

Friday, May 23rd, 2014

Jean-Luc Godard’s new 70 minute experimental feature has just premiered at Cannes.

Jean-Luc Godard’s latest feature, Goodbye to Language, shot in 3-D (see the image above, with Godard seated at the right of the frame) has just been screened at Cannes. Writing in The New York Times, Manohla Dargis filed a rave review, which reads in part “on Wednesday afternoon, the 83-year-old rock star Jean-Luc Godard shook up the Cannes Film Festival with his latest, a 70-minute 3-D extravaganza, Goodbye to Language. Finally, the competition lineup had something it has desperately needed all week: a thrilling cinematic experience that nearly levitated the packed 2,300-seat Lumière theater here, turning just another screening into a real happening. You could feel the electric charge — the collective effervescence — that can come when individuals transform into a group. ‘Godard forever!’ a voice boomed out to laughter and applause, as the congregated viewers waited for their brains to light up with the screen.

Goodbye to Language is, like much of the director’s work, deeply, excitingly challenging. The thickly layered movie offers up generous, easy pleasures with jolts of visual beauty, bursts of humor, swells of song and many shots of a dog, Roxy, but it will provide other satisfactions with repeat viewings. Divided into alternating sections (nature and metaphor), the movie is a churn of sights and sounds that opens with nods to Aleksandr Solzhenitsyn, a discussion of Hitler and the words ‘usine à gaz’ (French for ‘gas plant,’ as well as an idiom for something overly complicated). A man flips through a book on the artist Nicolas de Staël; someone else blurts out, ‘I am here to tell you no’; Gregory Peck and Ava Gardner smolder in The Snows of Kilimanjaro.”

That’s just the beginning of this enthusiastic review; you can read the entire piece by clicking here, or on the image above.

First Fruits of Inspiration: The Films of Wheeler Winston Dixon

Wednesday, May 21st, 2014

Filming in 1969; photo by Bruce Nadelson.

I recently had a screening of my early films at The Microscope Gallery in New York; Matthew Sorrento offers this review, which reads in part “as a teenager, Dixon was moved by the films screened at his local New Jersey library, noting how the works followed either the Hollywood or the independent models and how the later was an open field for artists (though the former would certainly interest him in his later criticism).

He found a welcoming community of artists at Rutgers University and then in New York, where enthusiasm and usefulness, as Dixon puts it, were all one needed to enter. Years later he would reflect on the scene in his essential 1997 text, The Exploding Eye, which sets right a lot of the debates lost in worship and revisionist history – but in the late 1960s Dixon was part of the thriving experimental scene.

Incorporating found footage, home movies, spur-of-the-moment camerawork, and poetry readings, Dixon’s catalog sums the best the times had to offer. To the post-digital generation, his work captures an era of democratic art, the materials for little investment and content composed anywhere, for nearly anyone.

On May 4th, 2014, New Yorkers had the rare – and perhaps final – chance to view Dixon’s films (now archived at the Museum of Modern Art) at the Microscope Gallery in Brooklyn. With Dixon in attendance, the artist-critic provided lively commentary on his collection of works that emit constant energy and passion.”

You can read the rest of the view by clicking here, or on the image above.

The Film Fatales Collective

Sunday, May 11th, 2014

“We’re a group of filmmakers who make each other’s dreams come true.” – Danielle Lurie

As their site – follow the links above in the photo and the opening quote – accurately notes, “Film Fatales is a collective of female filmmakers based in New York who have written or directed at least one feature narrative or documentary film. Our members meet the first week of every month, hosted at the home of a different filmmaker each time. Gatherings consist of a meal, a topical conversation relevant to the creative process, and a sharing of the current projects of our members. Film Fatales has quickly become a grassroots community of collaboration and support, with over a dozen films in production by our members this year alone. By offering a space for mentorship, peer networking and direct participation, we hope to promote the creation of more stories by and about women.”

Filmmaking is tough; collectives such as this make it easier to create new and original work.

The Cinema of Agnès Varda: Resistance and Eclecticism

Thursday, May 8th, 2014

Delphine Bénézet’s new book on Agnès Varda is a superb piece of work.

Agnès Varda never seems to get enough credit. The fore-mother of the French New Wave, long before Godard, Truffaut and the rest of the Cahiers du Cinéma crowd picked up a camera, Varda was making feature films from 1954, employing Alain Resnais as her editor, and pretty much setting out the basic precepts of simplicity, communality, and originality that her colleagues would later follow. But while Godard and Truffaut became art house darlings in the 60s – and certainly their work deserves the attention it got – Varda was somehow overlooked, although such films as Cleo from 5 to 7, Les Creatures, and Le Bonheur remain absolutely daring in their approach to the film medium, as well as dynamics of relationships between men and women, and particularly in affairs of the heart.

As the volume’s website notes, “Agnès Varda, a pioneer of the French New Wave, has been making radical films for over half a century. Many of these are considered by scholars, filmmakers, and audiences alike, as audacious, seminal, and unforgettable. This volume considers her production as a whole, revisiting overlooked films like Mur, Murs/Documenteur (1980–81), and connecting her cinema to recent installation work. This study demonstrates how Varda has resisted norms of representation and diktats of production. It also shows how she has elaborated a personal repertoire of images, characters, and settings, which all provide insight on their cultural and political contexts. The book thus offers new readings of this director’s multifaceted rêveries, arguing that her work should be seen as an aesthetically influential and ethically-driven production where cinema is both a political and collaborative practice, and a synesthetic art form.”

In five succinct chapters, detailing Varda’s place within cinema history, her “ethics of filming,” and the aesthetic and technical concerns that inform her films, Bénézet, who teaches comparative literature in the School of Languages, Linguistics, and Film at Queen Mary, University of London, offers a compelling case for Varda as a major filmmaker of not only 20th century, but also 21st century cinema, and one of the most successful at embracing digital cinema in her newer films, such as the transcendent documentary feature The Gleaners and I, shot entirely on a small home digital camera. Bénézet makes it clear that Varda has never stopped evolving as both a filmmaker and an artist in general, embracing new technology and the changing culture of France to create work of stunning resonance and beauty with absolutely minimal resources.

Varda has survived many of her contemporaries, and she keeps on working to this day; in the end, Varda is finally managing to get some measure of the respect and care she so clearly deserves simply by the act of sheer survival – she has outlived her detractors, mostly male, who really couldn’t see the value in her work. Dismissed or marginalized when first released, her films, now lovingly restored by Varda herself in DVD editions available throughout the world, have finally taken their place in the cinematic canon along with those of her male counterparts. There have been other excellent books on Varda, but this particular text, neatly illustrated with frame blow-ups, and graced with a detailed filmography, is one of the best, and also has the virtue of being the most complete.

In short, this is an excellent book from Wallflower Press / Columbia UP; pick up a copy now.

Screening at The Microscope Gallery May 4 2014

Wednesday, April 30th, 2014

I’m having a screening of my early films at the Microscope Gallery on Sunday, May 4th, 2014.

As the Microscope Gallery website notes, “Microscope Gallery is extremely pleased to welcome Wheeler Winston Dixon for the first screening of his film works in over a decade. The author, professor and filmmaker last had his works screened in 2003 at a retrospective at MoMA, where the originals now reside. For the evening, Dixon presents a program of six early works made from 1969 to 1976 incorporating  original footage shot in the world around him, including peace marches and Fluxus performances, commercials, and appropriated footage.

“Though he’s best known today as a scholar (his book The Exploding Eye provides a who’s who of 1960s experimentalists), Dixon’s short films are themselves visual catalogs of underground techniques: snarky Bruce Conner-ish montage, psychoactive Conrad/Sharits flicker effects, and Mekasian home-movie diaries. The distinctive Dixon kick comes from witty edits to far-out music. …” Ed Halter, The Village Voice

Film International added, “on Sunday 4 May 2014 at 7PM, filmmaker, film studies professor and regular Film International contributor Wheeler Winston Dixon will be screening some of his earliest films at Brooklyn’s Microscope Gallery. The screening, which will include films made between 1969 and 1976, is the first chance to see Dixon’s films since New York’s Museum of Modern Art hosted a retrospective of his work in 2003. At that time, MoMA also acquired all of Dixon’s films for their permanent collection.

Dixon was a member of New York’s underground film scene from the late 1960s, while also working as a writer for Life magazine and Andy Warhol’s Interview. ‘I first realized that I wanted to make movies when I was about four years old,’ Dixon told Senses of Cinema in 2003. Already as a teenager, ‘around 1965,’ he started distributing his films through the legendary Filmmakers’ Cooperative.”

You can read more here and here; I will be attending, and hope to see you there.

The Most Important Film Book of 2014: Film Manifestos and Global Cinema Cultures

Monday, April 28th, 2014

I have a new review on this remarkable book in today’s issue of Film International.

As I note in my review, “literally hundreds of film books cross my desk every year; I review books on every imaginable genre, director, movement or filmic era on an almost daily basis for a variety of publications, but every so often, a book appears that instantly commands my attention as a work of inescapable importance. Film Manifestos and Global Cinema Cultures: A Critical Anthology is such a volume. Running to a staggering 680 pages, and yet priced in hardcover for a mere $85 on Amazon, this collection of film writings from the dawn of cinema to the present day, edited by Scott MacKenzie, is one of the most inspirational and informative volumes I’ve ever come across, because it highlights the constant need for renewal which typifies the cinema, potentially that most compromised of art forms. It is, indeed, one of the most important volumes on the history, theory and practice of the cinema ever compiled.

The struggle between capital and creation is an ongoing one, even with the advent of digital cinema, and yet it is more than ever vitally important that artists reclaim the cinema, making films that challenge and enlighten the viewer, and break away from established orthodoxies of cinema production. Most of the texts here were written by filmmakers, actual practitioners of the cinematic arts, and they are direct calls to action, even if they (blessedly) contradict each other, and often insist that only “they” are correct in their approach to the cinema. This is the sort of conflicting chaos that creates the most interesting and lasting films in cinema history; films born not out of the studio system, but out of warring, marginalized factions, working with outdated equipment, insufficient funds, no distribution, and nothing more than a vision, and a desperate desire to get the vision recorded by any means available.”

You can read the rest of my review on this absolutely essential volume by clicking here, or on the image above.

“A Lioness on the Prowl”: Jonathan Glazer’s Under The Skin

Tuesday, April 22nd, 2014

I have an article out today on Jonathan Glazer’s new film Under The Skin in Film International.

As I write, in part, “Under The Skin is being sold on the basis of a simple premise, which is true on the face of it, but also offers just the merest suggestion of what the film is in its totality. Scarlett Johansson plays an alien inhabiting a woman’s body, who trolls through the Scottish countryside and cities searching for young men, enticing them with the promise of a sexual encounter, and then killing them for food.

In this, she is monitored by another alien, who takes on the form of a sinister motorcyclist (played by real life champion cyclist Jeremy McWilliams), who is there to make sure that Johansson’s character stays on track with her mission. That’s pretty much the plot, or as much of it as I want to give away, but there’s a great deal more going on here than this bare outline would suggest.

Firstly, there’s no real sex in the film, just the promise of sex. Although Johansson lures several men into her white van during the first third of the film, and then takes them back to her flat, ostensibly for sex, nothing really happens; the men strip off and approach Johansson, who backs away from them, as the men sink into some sort of primordial ooze that swallows them up, and then reduces them to fleshy pulp for otherworldly consumption. Indeed, there is more frontal male nudity here than female, and it’s clear that one of the many things that the film is interested in is the fetishization of sex; Johansson’s simulacric image has been created as nothing more than a stock male fantasy.

We get only one glimpse of the actual harvesting process, in which two men, both victims, are now in a sort of limbo, and desperately attempt to touch each other to make some sort of contact, and perhaps escape the trap they’ve fallen into. But no such luck; in an instant, one of the men is reduced to nothing more than a human husk, and the pulp of his body is sucked through a chute into a door of some kind, food for Johansson’s cohorts in a distant galaxy.

Although there are a number of scenes in the film in which Johansson is nude, they’re sequences in which, as an alien, she examines her new body, and wonders at its construction, and why it’s so alluring to her victims. In the opening third of the film, she is utterly without humanity, clubbing one man to death on a beach and leaving an infant baby to be swept out into the tide without even the slightest shred of remorse. But then again, she’s not human – she doesn’t understand the meaning of the word.”

This is a remarkable film, but you’ll have to seek it out; see it as soon as you can.

About the Author

Wheeler Winston Dixon

Wheeler Winston Dixon, Ryan Professor of Film Studies at the University of Nebraska-Lincoln, is an internationally recognized scholar and writer of film history, theory and criticism. He is the author of numerous books and more than 70 articles on film and appears regularly in national media outlets discussing film and culture trends. Frame by Frame is a collection of his thoughts on a number of those topics. To contact Prof. Dixon for an interview, reach him at 402.472.6064 or wdixon1@unl.edu.

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In The National News

National media outlets featured and cited Wheeler Winston Dixon on a number of topics in the past month. Find out more on the website http://newsroom.unl.edu/inthenews/