|
||||||||||||||||||
|
Irina Evteeva’s debut quickly became a kind of manifesto for the one-room experimental studio: it defines classification by interweaving animation, appropriated footage, feature and documentary to form a unique whole, a film that rushes backwards into the future, thereby re-inventing Futurism. Mayakovskiy is the star; his occasional presence holds together a film driven by the sound, the beat, of his poetry. Evteeva develops a dramatic structure of flaring, fading, being from light: violin strings become rays, quivering dull yellow spots, pictures. The plot assails the material from which it derives energy from material. History, growling and roaring, finds its form. |
||||||||||||||||||
Return to Paradise
Spider-Man 3
Gone in Sixty Seconds
Final Destination 3
Deadfall
Transformers: Titans Return
Star Wars: Episode III - Revenge of the Sith
Return to the 36th Chamber
Return of Sabata
Return of the Seven
God of Gamblers' Return
Return of the Tooth Fairy
Tomorrow Never Dies
Urotsukidōji III: Return of the Overfiend
Side Effects
Final Destination
Return
No Deposit, No Return
Big Momma's House 2
Saw II
Stage Fright
The Timid Toreador
Holiday Highlights
Snubbed by a Snob
The Early Worm Gets the Bird
The Cat's Tale
Un Chien Andalou
Walls Have Ears
Ice Pepper
Mr. Prokouk, The Inventor
The Carriage or Dracula & My Mother
Gaslight
Pornography
Icarus Montgolfier Wright
For Those Who Poisoned the Moonlit Night
The Man In The Case
Bohdanchyk and the Drum
Atomic Love
Pulcinella
A Favour
|
