In 1978, Ruiz was commissioned to make a television documentary about the French elections from the viewpoint of a Chilean exile in the 11th arrondissement. But, contrary to the producers’ expectation, the Left lost. Ruiz seized on this anti-climax to make a documentary about nothing except itself – a film whose central subject is forever lost in digression and ‘dispersal’, harking back to his Chilean experiments of the ’60s. It is the best, and certainly the funniest, of self-reflexive deconstructions of the documentary form. Ruiz drolly exaggerates every hare-brained convention of TV reportage, from shot/reverse shot ‘suture’ and talking-head experts to establishing shots and vox pops (narrator’s note to himself: “Include street interviews ad absurdum”.)
In a mainframe, a series of punch cards are used to process data. One punch hole is bored. It decides to harass some of the other holes hoping that it would be more exciting. Can the other holes keep him in check?
In a montage alternating with moments of Nigel Rogers’ interpretation of the most beautiful passages from “Orpheus,” the opera by Striggio and Monteverdi, La Nuit Claire is an evocation of the celebrated myth, within which images of the love between its two modern protagonists, Anne and Julien, are inscribed.
Magical Super-8 (shown on 16mm) single frame portrait of the Notre Dame cathedral featuring luminous light and a dense score incorporating players from the square.
In the form of a “small theater of the world”, a history of the world from its beginnings to our day, including the errors, the incompetence, the thirst for power, the fear, the madness, the cruelty and the commonplace, in a story of five episodes.
During the ’50s Makavejev began making short films and documentaries in the Zagreb and Belgrade studios, as in Kino Klub Beograd, the center of avant-garde film and amateur activities during the ’60s in Serbia. The experimental and documentary impulse remains powerful in Makavejev’s work, as does the tendency to intercut undigested segments from other films into longer works. At the same time, those early works would be the first of many run-ins with the censors that would plague his career and, arguably, keep him from being recognized as a major postwar film artist.
An animated experimental short film using charcoal and pastels to create Cubist and Art Deco-inspired designs evoking the curiosity, grace and beauty of two cats in constant motion.
Filmed in a middle school gymnasium in suburban Japan, Goshogaoka takes as its ostensible subject the exercise routines and drills of a girls basketball team. The film consists of six ten-minute takes, shot with a fixed camera at court level, in which the various cadences of chanting voices and bodily movements digress into distinct studies. Taken together they construct a subtle and multi-layered social portrait, a portrait framed within a study of choreographed movements (the routines, etc.) and therefore one in which documentary values soon become inseparable from aesthetic ones.