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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. |
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Projota - AMADMOL (A Milenar Arte de Meter o Louco)
Cherrie - ut ur mörkret
The Return
Road
Bark
SlugTerra: Return of the Elementals
Return to Nim's Island
John
Return of the Tooth Fairy
They
The Auntie from Chicago
123 Hugs
Test
King of the Hill: A 70th Anniversary Retrospective of Cincinnati’s King Records
Teddy Pendergrass: If You Don't Know Me
Ultravox - Return To Eden - Live At The Roundhouse
Qwerty
film
FILM
Hello...?
Un Chien Andalou
Runaway
Sabaku
Madballs: Gross Jokes
The Chestnut Tree
Shutter Shooter
Tom in Couchland
Zoon
Cedric
Paranoia
Fallin' Floyd
The Bored Billionaire
Icarus Montgolfier Wright
Rainy Season
With What Shall I Wash
Prehistoric Beast
First Born
The Colours of My Father: A Portrait of Sam Borenstein
Candy Boy
Once Upon a Snowman
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