A comic spoof drawing irreverently on both the Shakespeare play and the 1877 story by Jules Laforgue. Hamlet is a would-be playwright. He suffers from inept Freudian analysis by Polonius, and Ophelia and Gertrude are women conjured up in his erotic imagination. After Claudius kills his father, Hamlet only thinks of preparing to put the theatre production in Paris that he was getting ready at Elsinore.
Bert Deling’s surreal, button-pushing and hallucinogenic paean to the emerging possibilities of avant-garde and homemade filmmaking. Telling the tale of a violent ex-cop searching for the man who killed his partner, the film takes an unexpected turn when he encounters drug lord Plastic Man and a tribe of LSD enthusiasts. What follows is both literal and metaphorical mayhem as the boundaries of the film start collapsing and our idea of what’s real is pushed to its very limits.
Footage from three distinct visits to the home of Jerome Hill make up this tribute to him. Mekas visited Hill in 1966 with P. Adams Sitney. He then returned briefly in 1967 and again after Hill’s death in 1974. This elegy is dedicated to Hill, who may have felt as much an exile as Mekas did. Music performed by Hill, Taylor Mead, Charles Rydell and others makes up the soundtrack.
On October 9th, 1972 an exhibition of John Lennon/Yoko Ono’s art, designed by the Master of the Fluxus movement, George Maciunas, opened at the Syracuse Museum of Art, curated by David Ross, presently Director of Whitney Museum, in New York. On the same day an unusual group of John’s and Yoko’s friends, including Ringo, Allen Ginsberg, Paul Krasner, and many others, gathered to celebrate John’s birthday. This film is an visual and audio record of that event.
In 1979 Jonas Mekas made Paradise Not Yet Lost (also known as Oona’s Third Year) as a letter to his daughter and a memoir of the family’s life in New York and travel abroad in Europe.
A set of words without any meaning, forms the title of the first and only feature film in the history of Spanish cinema made entirely by hand-painting directly on celluloid.
Doctor Fausto is observed by unknown creatures in outer space. All of a sudden, a strange woman appears in his life. Her strange behavior leads his life down the path to insanity.
The Man Who Envied Women wryly chronicles the aftermath of a breakup between a philandering professor, played by two different actors, and his artist wife, voiced by choreographer Trisha Brown, who serves as the largely unseen narrator. Yet the work’s concerns radiate far beyond the couple, expanding to include film history and on-the-ground politics alike—punctuating the piece are a variety of cinematic quotations, from Hollis Frampton to Barbara Stanwyck, as well as documentary footage of spirited exchanges about American imperialism in Latin America and the housing crisis in New York.