Fedia – man living in little yellow house next to Gariūnai marketplace.
To him life seems simple, completely transparent and without any hidden truths.
Cosmic problems are far away from him.
Next to him is world, where lives astrophysics manipulating with numbers, which are so big that do not have names.
These two worlds exist next to each other.
UNIMANIGABLE THINGS 1 / UNINVENTED THINGS 1 (Henrikas Gulbinas, 1988) #CoMoLietuvahttps://menoavilys.org/en/henrikas-gulbinas-video-art/
Although the abstract works of H. Gulbinas created by manual image generation today resemble psychedelic painting, according to the creator himself, these connections are foreign to him. The style of one of the early Lithuanian video art pioneers was not dictated by ideology or imagination, but by the video-making technologies of the 90s and the possibilities of expression they provide. The basis of H. Gulbinas’ first video art work “Unimagined Things” is the illuminated recordings of a functioning television, filmed by connecting the television signal to a video recorder and thus extracting the effect of image flow, and their editing. Later, the artist’s colourful abstractions diversified through lighting, glass, a stencil, and other means in the environment. Music has always been important in the creation process of “Unimagined Things”. According to H. Gulbinas: ‘I would imagine, visualize the things based on what I was listening to. This hobby provoked experimentation (…). After filming something, I put a musical background on the video and tried to find a synthesis between audio and video’. The technological principle of creating video compositions without a plot also determined the name. It was provoked by H. Gulbinas’ conversations with friends at that time: ‘Maybe someone said: ‘Oh, but you didn’t come up with these things yourself’ ‘Well, yes, yes, I didn’t’.
can still vividly recall the farce of doing these moronic "drills" so cherished by paranoid Soviets — true Cold War folklore.Film director Zubavičius observes exercises testing the citizen reaction to a potential nuclear attack by a "foreign enemy". The protagonists of the film from a small village in Samogitia region participate in civil defense practice and prepare for a competition. But despite regular exercise, no one seems to take the danger seriously.
What?Unspoken amid all the film’s invocations of eternity is the connection between Vilnius and Rome, the “Eternal City”. Vilnius is nicknamed “Rome of the North” for its profusion of churches, its hilly landscape, and its historic conversion from paganism to Christianity. The architecture and sculptures displayed in Time Walks Through the City support the city’s link to Rome, and the horse, which has all the noble bearing of an ancient equestrian statue, clinches it.
The film is a portraiture of an old farmer at work doing his daily chores in an area that is completely flooded. The situation is catastrophic, but for the man it is only one of the many floods he has experienced in his life.
The Tallin-Kaliningrad bus crosses three borders during one night: Estonian-Latvian, Latvian-Lithuanian and Lithuanian-Russian. Its passengers need four different currencies to pay for toilets or buy sandwiches during the journey. During the Soviet times there were no border guards on this route. Now, after the three Baltic States have joined the EU, history has turned again.
stream (optional English subs) → https://www.cinematheque.fr/henri/film/ ... ovas-2015/This film is about a time gone forever. In 1995-1996, the cult café Suokalbis ('The Plot', 'The Conspiracy') in Vilnius was already losing its splendor, but still served as a gathering place for artists of all ages, known and unknown, students of all stripes and, of course, passing visitors.
In the heat of the accelerating summer, a Lithuanian provincial town shimmers near the river Nemunas.
Its inhabitants, as if trapped in the everyday life of the town, face an unchanging reality, anxious stagnation and unmeasured aspirations.
How to fully reveal yourself in this unreal world, what to choose when you are limited by an upbringing based on illusions and the secret knowledge that "nothing will change"?
June, the Beginning of Summer stands out with its unusual at the time modern and free narrative structure,
realistic acting,
open plot lines,
and fragmented dramaturgy, in which every element, every deliberately incomplete character forms a part of a coherent and connected picture.
The film was criticized by Moscow editors and critics for portraying the mood of decline.
Theatre in the film is an important element that renders the action universal.
This is a video record of the Buddhist Wake ceremony at Allen Ginsberg's apartment. You see Allen, now asleep forever, in his bed; some of his close friends; and the wrapping up and removal of Allen's body from the apartment. You hear Jonas' description of his last conversation with Allen, three days earlier. You see the final farewell at the Buddhist temple, 118 West 22nd Street, New York City, and some of his close friends: Patti Smith, Gregory Corso, LeRoy Jones-Baraka, Hiro Yamagata, Anne Waldman, and many others.excerpt ↓Two stars go for the commentary on the last conversation that Jonas had with Allen Ginsberg. As for the rest, it's a reoccurring theme in Jonas Mekas' work that can be summed up as "I was there - Jonas Mekas". At times it felt a bit like an urban version of The Blair Witch Project, but where nothing happens. Erratic camerawork and quite tasteless choice of scenes for an event like this one.
https://youtu.be/m81gRj3ObNo?si=XXMGbK6U1oTRMPgt
Am I seeing some Mekas skepticism here? I once called one of his essays "You're Drunk, Jonas, Go Home: The Movie."
i admit i wish he would not had given up on scissorsLencho of the Apes wrote: ↑Tue Oct 31, 2023 11:22 pm Am I seeing some Mekas skepticism here? I once called one of his essays "You're Drunk, Jonas, Go Home: The Movie."
Natasha Kurchanova: Do you ever edit your films?
Jonas Mekas: From the 60s on, I have done only very minimal post-editing. I do almost all of my editing during the filming. My filming is like when one paints: all decisions of hand or brush movements are decided during the process of painting. Post-editing is a completely different kind of filming process. It’s a different process and a different result. For me, if I failed to get the essence of the moment during the filming, no amount of editing is going to get it. I just put the film on the shelf, and that’s the end of it.
