There is one world where cinema doesn't exist anymore.
The major studios (MGM, Paramount, Warner, etc.) are tired of filming huge big-budget movies, recreating reality with scriptwriters, actors, and costumes.
They decide it would be more interesting to hire extras in real life, and thus present a “real”, everyday show.
In the beginning, people pay a lot to be part of these huge scripts that cover entire nations for months.
But soon, you can’t tell who’s an extra and who’s not.
And that spices things up a bit.
People really enjoy acting out their lives in a non-stop spectacle.
These new actors put their heart and soul into it, playing banal scenes with so much conviction that only experts could appreciate the natural perfection.
It’s simply impossible to tell an actor from someone who’s just living.
When I Will Be Dictator transforms the past until it has a taste of eternity, an eternal present where beings and things are suspended as if in an indeterminate limbo.
Yaël André’s philosophical treatise on the power of shared images playfully refracts the nature of authorship and personal expression.Yaël André impertinently plays with the idea of absolute power and combines it with iconoclastic humour, systematically diverting the meaning of these images to better construct these different worlds.
https://vimeo.com/276739526Born in Medellín, Colombia, he is currently based in Brussels.
stream → https://vimeo.com/341575983An animator from Belgium who likes to draw leek and other stuff.
https://youtu.be/RcmUiF8VUF8?si=Vg_L8H4tDCmM3JGNArthur Is Fantastic is a b/w Fluxus film that portraits Arthur Indenbaum and turns him into a work of art by obliterating the boundaries between art and life. Arthur Indenbaum was the son of an American diamond dealer who had come to Antwerp in the late 1960s to be trained in his father’s business. Soon, however, Arthur found his way into the lively art and music scene of Antwerp of the period where he liked to get high, hang out with friends and play music with his band ‘Live’. At the time Gallery Vacuum was an art space run by artists and musicians Luc Deleu, Filip Francis and George Smits, who were an integral part of Antwerp’s alternative scene. On 6 May 1970 Arthur, with his extraordinarily big physical build and fuzzy hair, was exhibited as a live sculpture in Gallery Vacuum during a one-night show in which Ludo Mich took part as well.
WHITE FLAME (Charles Dekeukeleire, 1930) #CoMoBelgiummétaphore, mon cul wrote: ↑Sat Aug 12, 2023 5:06 pm
absolutely adore all the mildly displaced (from the center of the shot) heroes and heroines, gazing out of the frame
(making all the voyeurs, sitting in front of the screen, jealous because their voyeuristic gaze can't follow)
At the age of twelve, after failing an examination, Buchet said to a school-fellow "Later I will make cinema!". At nineteen, he entered the first class of cinema of La Cambre at Institut Supérieur des Arts Décoratifs (ISAD) an art school created by Henry Van de Velde. From that class, he holds an unforgettable memory (no budget, no equipment). Buchet entered the section of experimental cinema that La Cambre created in 1957. While there, he mainly studied sound editing and made 3 short films: "Discours" (Speech), "Comment se pendre" (How to hang himself), "that it will wire for sound" in 1974, and "Masques" in 1959, which he made in collaboration with Marc Lobet on a music of Fernand Schirren.
métaphore, mon cul wrote: ↑Mon Sep 18, 2023 10:21 pm SUZANNE'S FLING (Jean-Marie Buchet, 1974) #CoMoBelgium
With the imperturbability of a great humorist, he stubbornly adheres to a fixed camera position. Buchet dared to tell a non-story with indecisive protagonists. In an atmosphere of ironic passivity, twelve tableaux or “stations” punctuate the stages of Suzanne’s flight from Albert to Emile and back to Albert. The Albert in question plods along between his friends Emile and Victor, while Albert’s presence as an abandoned wreck is difficult to bear for Victor’s girlfriend. Grumpy but amiable, these three “young old men” repeat fragements of sentences, yawning and totally bored. Albert and Victor have an outspoken love-hate relationship with the books that surround them. And in the midst of a proustian flow of words (Suzanne as Albertine...), Victor unexpectedly disturbs the thick layer of indifference with an emotional outburst. The director considered him worthy of a major exception, in blatant contradiction to his general poetics: boring and austere white in which the characters move or cannot move forward as if in a coagulated water plane, but in a very human way, despite the rather bizarre light in which Buchet shows them. Those are the mysteries of La fugue de Suzanne: a description of the crisis of the intellectual, but also an exercise in non-violent, spiritual and lofty recitation. Leaving from the port of Beckett, via the intermediate port of Tardieu and passing Eustache, Buchet runs aground on a beach that is clearly his, populated by grey shadows and palpitating unspoken but no less vivid feelings. The gestures and words have the somewhat sleepwalking economy of Eastern pantomimes, but Suzanne and her “old men” between two ages are closely related to our daily conflicts, to our inner torments. Buchet aims high, but fortunately feigns irony and provocation; his extreme distanciation is not the only merit of this quite extraordinary film.
Thomas CampionThere is a garden in her face.
A tree is a tree because it is also a large leaf.
A leaf is a leaf because it is also a small tree.
A city is a city because it is also a large house.
A house is a house because it is also a small city.
Say, tree, leaf, large leaf, small tree; Say, leaves or leaves on a tree;
Say, a few leaves still or many leaves soon;
Say, leafless tree.
Say, this tree when my child grows up and that tree when I was young.
Say, one tree, lots of trees, all sorts of trees, trees in the forest.
Say, forest (hear: dark, lost, owl's hoot, squirrel, toadstool, tiger, timber).
Say, apple tree, apples, apple pie.
Say, NUTS!
Aldo van Eyck - Beyond VisibilityThere is a kind of spatial appreciation that makes us envy birds at flight; there is also a kind that makes us recall the sheltered enclosure of our origin. Architecture will fail if it neglects either one or the other kind (providing for Caliban requires providing for Ariel also). Labyrinthian clarity sings of both.
in this remarkable film, the voice of the powerless (Power to the elderly! Jules is not mad!) clashes with the voice of the power (Be reasonable!)Jules, a rebellious septuagenarian, foments a revolt in his home ruled by quasi-military rules. He and his twenty supporters will oppose the management, the firefighters and even the gendarmes.
