The packaged summary for Kevin Kopacka’s HADES (2015) reads:
A woman is caught in an endless cycle of dreams where she has to cross the 5 rivers of Hades, each representing different stages of her relationship.
The short film, based on the short story “Statusbezogen” by H.K. DeWitt, shows a young woman (Anna Heidegger) navigating in space the emotional trauma of a troubled relationship. HADES is heavily symbolic, abstractly experimental, and colourfully metatextual, feeling like Maya Deren while looking like Dario Argento. MMC! loves its dream cinema and Kopacka provides an entry worthy to cap another spooky October.
I recently watched Redes (Emilio Gómez Mariel and Fred Zinnemann, 1936), from the first Martin Scorsese’s World Cinema Project box set, and Kent Jones’s visual essay which makes reference to Manhatta (1921), a documentary short made by photographer and Redes-cinematographer Paul Strand and painter Charles Sheeler. The short is not included in the WCP set (although it was included on the now OOP DVD set, Unseen Cinema), and so I thought I would share it here at MMC! The short is inspired by Walt Whitman’s poem “Mannahatta” and is considered the USA’s first experimental film. Strand and Sheeler link their respective art forms (painting and photography) to cinema by preferring dynamic angles and compositions over movement, using editing and intertitles to express a monumental day in Lower Manhattan. The result is a visually engaging and invaluable document of the time.
Thoughts of the Fantasia Film Festival in Montreal (just underway) and various other fantastic film festivals still to come has me reflecting on cinematic weirdness and my attendance to the Saskatoon Fantastic Film Festival back in October. Among my favourites were Daniel Moshel’s two bizarre shorts, MeTube: August Sings Carmen ‘Habanera’ (2013) and MeTube 2: August Sings Carmina Burana (2016). The former is a hallucinatory tribute to awkward YouTube performances. Featuring Swiss tenor August Schram as a nerdy opera wanna-be and Elfie Wunsch as his grimly attentive mother, the short transforms a reserved and amateurish rendition George Bizet’s Habanera from Carmen into an EDM-infused, pan-sexual bacchanal, and it’s weirdo-glorious. Moshel’s crowd-funded sequel takes MeTube‘s classical mindfuck to the streets with a flash-mobbed carnival of “Opera on Acid.” For more by Moshel and a peek into the making of the films, check out his YouTube and Vimeo pages!
I’m working on our next proposal (an underappreciated comedy for the Shout Select label) so hopefully that will arrive soon. TCB, baby!
Video Camera Demo Tape Fred Meyer (—, 2017) is 26-minutes of footage taken by a Washington State Fred Meyer superstore’s floor model VHS camera in the spring of 1992. Discovered by Kellie Rogers among her father’s old camcorder tapes intended for DVD conversion, this footage of early ’90s consumerism is oddly compelling and extremely watchable. Katie Rife of The A.V. Club calls it “2017’s most avant-garde documentary” and Sophia June of Willamette Week cites it as “the greatest time capsule ever.” Hyperbole aside, the footage offers plenty of grist for the theoretical mill – the independent and foregrounded presence of the apparatus (notice those autofocus corrections), the manner of its smart device-less, unconnected subjects, the transient and incidental quality of captured footage with the rising convenience of personal recording, the footage’s online success and the current culture’s thirst for nostalgia. For those disinterested with the philosophical implications of Video Camera Demo Tape Fred Meyer, there are plenty of fascinating period intricacies to take in – the early packaging of CDs in long boxes, the ubiquity of sweatshirts, commercial transactions actually paid with paper money, and the lamentable rise of fanny packs. Good times.
With the Criterion Collection’s tease of Twin Peaks: Fire Walk with Me (David Lynch, 1992) and the screening of the first two parts of Lynch’s new Twin Peaks 18-part feature at the Cannes Film Festival, it seems like much of the CC world is abuzz over David Lynch and the prospects of new spine numbered editions being announced. This has got me thinking about my favourite shorts by Lynch and so today MMC! casts its spotlight on Premonitions Following an Evil Deed (David Lynch, 1995), a 52-second film made for the Lumière and Company anthology film (1995) celebrating the centenary of Auguste and Louis Lumière’s first films. Contributing shorts to the anthology used the original Cinématographe camera, were edited in-camera, could not be longer than 52 seconds, could not have synchronized sound, and were allowed no more than three takes. This eerie and foreboding short was filmed on five sets constructed at the house of Gary D’Amico, Lynch’s special effects co-ordinator. Premonitions is one of six restored short films included on Criterion’s edition of Eraserhead (David Lynch, 1977).
The Criterion Collection, a continuing series of important classic and contemporary films presents Thirty Two Short Films About Glenn Gould.
François Girard provides in this unconventional bio-pic a compelling and memorable exploration of Canadian musician Glenn Gould, arguably the 20th Century’s greatest classical pianist. Through thirty-two elegantly constructed vignettes mixing drama, documentary, animation, and avant-garde, Girard reveals glimpses of Gould as performer, recording artist, humorist, outdoorsman, speculator, recluse, and iconoclast. Taken together, Thirty Two Short Films About Glenn Gould offers a prismatic understanding of Gould’s complex genius and his personal struggles without dispelling the enigmatic power of his legend.