Sticky My Fingers, Fleet My Feet is a film about a man accepting his old age. The film is playful, as its characters have an exaggerated infatuation with their games of touch football, the main character even keeping a book of stats for himself. John D. Hancock utilizes sound in order to help with the over dramatization, as the suspense builds before kick-off, where comically a young girl picks up the ball before they can begin. The sound again emphasizes the child in these older men, when the main character returns home to a bath. He imagines now he is playing tennis with a brush, leaving the viewer, in the bit of parallelism, to see he can’t be humbled by his age for long.
Category: Short
Terence is caught in a vicious circle, he cannot get a job because he has no experience, but he cannot gain experience without getting a job!
During a ride on the Staten Island Ferry, a young Wall Street investment banker and an old shoeshine man begin chatting and discussing their life philosophies.
Associations sets language against itself by using the ambiguities inherent in the English language. Images from magazines and color supplements accompany a voice-over reading from the book ‘Word Associations and Linguistic Theory’ by academic linguistic Herbert H. Clark. Combining a wry sense of humor with word/visual games and puns, Smith explores the boundaries of cinematic montage by combining elements together and against each other in order to destroy and create multiple meanings at the same time.
Zedd is minding his business, when he is stopped by a cop who accuses him of being a junkie. After a short argument he is beaten and dragged to the police station. At the station he is interrogated by a detective and the police chief. After being beaten and tortured several more times, Nick Zedd’s character mutilates himself with some hedge cutters.
Ten days of preparation for the Monte Carlo rally. The two Polish drivers battle with the technical shortcomings of the Polish Fiat 125 and overwhelming bureaucracy. They did not finish the race. An allegory of the country’s industrial and economic problems.
Muscle Beach is a fascinating location for people-watching in the L.A. area, and in 1963, the strangeness of its sights was much more pronounced than today. Pat O’Neill’s first film (made with Robert Abel) progresses from humorous, curious observation to energetic, graphical interaction with the sights and sounds of Santa Monica’s famed beach.
Glauber Rocha films the funeral of his friend Di Cavalcanti, one of the most important Brazilian painters and artists of all time. The director/writer pays his tribute to Di by narrating an eloquent speech, referencing poets such as Augusto dos Anjos e Vinicius de Moraes, along with images of Cavalcanti’s work and the funeral as well – with the latter event being a spur of the moment to the director who rushed with his camera to the place when he heard the news.