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Now Streaming in the Movie Club through Oct 27th: GESTURES, by Vincent Guilbert. A delicate portrait of avant-garde blues guitarist Loren Connors. Includes a brand new interview with Connors & Guilbert, plus a text introducing Connors' career in music (and brief stint as a writer).
sign-up at the $7 level to watch!
DARKNESS, DARKNESS, BURNING BRIGHT (2022)
Now streaming on our Movie Club! (patreon.com/ultradogme)
Une Partie de Campagne
Teo Hernández
1990
Editor’s Note: Welcome to the eleventh program of our Virtual Film Festival, which offers a weekly watching schedule of moving image works a
by MLP Let us begin our journey with pure light; refracted, reflected — colorful, colorless, formless, flexible. A world without light is unimaginable. Remarkable how the change in a light’s intensity can so wholly affect our mood or comprehension. Forerunners of Stan Brakhage’s The Text of Light, the work of Jim Davis is obsessed with pure light and its infinite iterations. Thus, we open this week’s program with Fathomless, a reminder that were it not for such captured evidence, it might very well be impossible to imagine the possibilities offered by that essential element which we so often take for granted. Just over fifty years later, Paul Clipson works with light which has already been organized into concrete arrangements (i.e. neon signs) and deconstructs them to re-evaluate their abstract potential, even within the confines of their forced forms. Thus reflections which make the moon shine dive headfirst into pools of glowing neon static — but not until after we have first zoomed so far into blades of grass that we can see the everlasting truth of Davis’ work, dancing within the drops of dew! For the middle section of our program, we turn to four films by Robert Todd, whose work exhibits aesthetic interests akin to that of Nathaniel Dorsky; an idea of calmly observing in everyday presences what so few of us take the time and effort to truly see. I am far from the first to note these similarities of intention, but it bears repeating. The following quote by Dorsky appears alongside a virtual exhibition of stills from his films currently running on Peter Blum Gallery‘s site: Todd’s films, like those of Dorsky, hold within them all the qualities of being human. If Dorsky’s is a devotional cinema, then Todd’s might be considered as a spiritually-inclined agnosticism. In Passing, we seem to look through the eyes of a ghost taking one last look around before leaving for the next plane. Quary lifts trash into a holy space, while Windswept and Restless wrestle with an idea of natural peace, agitated meditations. Windswept soaks and ruminates. Restless reflects its title, yet in a manner which strays from his earlier film Cove (2012). Where Cove moves within a system of fidgety back and forths interrupting nearly every idea of actual peace, Restless‘s restlessness comes from a steady gaze trained on the constant waves of wind. We close the program with another Clipson pairing, this time with a piece from the Mexican filmmaker who came to conquer Paris, Teo Hernández. For me, L’eau De La Seine was the historical precedent I’d long been searching for; the supportive feeling of discovering a path had been trod decades earlier so that I could walk it now, alongside the disappointing revelation of just how unoriginal my aesthetic efforts were. Nevertheless, I felt an instant kinship with Hernández, who died the same year I was born. The furious visual intensity, agility, and self-confidence I sought were all present in this film, scored by rapturous silence. When I showed it to a couple of friends — who happen to be twins — they responded (each oblivious of the other’s reply), “It has some great abstract visuals that look like stuff you’ve done!” and “If I didn’t know any better, I’d say you traveled back to the ’80s to shoot this.”
When I first watched Paul Clipson’s Headache, I didn’t think much of it other than as a spiritual sequel to Hernández’s L’eau De La Seine. In fact, in my memory I completely misremembered Grouper’s track ‘Headache’ as the score to Clipson’s Pulsars e Quasars — another film fixated on water’s reflections of sunset — and felt that the vivacity of the image was mismatched with the tranquilizing swells of the soundtrack. The song remained with me though, and nearly a year later it slowly lapped its way back onto the shores of my mind. I sat down with the film again and was astounded at how perfectly both image and sound capture the specificity of the finish of a sun-soaked day, the end of the summer, the close of a life well-lived.
WATCH: https://ultradogme.com/2020/06/20/udvff-11/
If somebody had told me that my first experience of Ann Arbor Film Festival would happen during one of the worst pandemics in recent human history, while I was locked down in the Parisian periphery…
by Savina Petkova “You’re in”, reads the email. I slide out of my chair to make myself a coffee – it’s going to be a long night. After four days of snooping around and refreshing Zia Anger’s twitte…
You and I have (hopefully) spent the past few weeks at a home, in isolation, away from noise and crowds. In this isolation, one inevitably bumps into oneself.
by Tijana Perović You and I have (hopefully) spent the past few weeks at a home, in isolation, away from noise and crowds. In this isolation, one inevitably bumps into oneself. In other words, we are forced to stay in proximity with only very few people, sometimes only ourselves. Now, part of our training as humans is to become social, kind, lovable, as this would draw success in society as we built it. We are pushed to be outgoing, sensitive to outer cues and road signs. Most conventional education doesn’t involve nourishment of the same traits in reference to ourselves. As simple as it may sound to redirect all this energy into another source of input, in practice many of us, myself included, fail to do so. Moreover, this often causes patterns of behavior and thoughts that can result in very unfortunate psychological outcomes, both acute and chronic. I don’t believe that this is a simple task. But one worthy of working towards. As this topic is so close to my heart, I started looking out for signs of it in a small, yet relevant chunk of experimental cinema. Funnily enough, this was yet another attempt to seek something inner in the outer.
The way we observe and treat the outer often reflects how we treat the inner yard of our mind. Therefore, I invite you to lean into yourselves while experiencing these movies, as they serve as a bridge between the viewer and the director, often culturally, temporally, economically, spatially distanced individuals.
There are plenty of spectral prisms through which we can examine our relationship with the self. In isolation and in proximity to literally only myself and my partner, my sensations and thoughts have oscillated on the spectra of health-sickness, life-death, inner-outer, structure-content, body-soul, me-you, me-other. These films are a compilation that explores those dimensions... [READ THE FULL PROGRAM NOTES ON ULTRADOGME.COM]
Maximilien Luc Proctor writes and interviews Nathaniel Dorsky about his film shows in Croatia and Frankfurt this past year
Maximilien is the editor in chief of Ultra Dogme, a film and musical blog, where this article originally appeared under the title, “There is magic to be found in everything”, Looking at the films of Nathaniel Dorsky.
photo by Verena Baumann
link to Ultra Dogme article link to the Ultra Dogme blog
by MLP, edited by Martin Bremer header photo by Verena Baumann
Nathaniel Dorsky began shooting on film in the early 1960s. He worked for many years as an editor and cameraman on various commercial film projects, which often had little to do with his personal interests as an artist. For him, there is a strict separation between a film made for money and a film made for personal reasons, and those personal reasons have kept him hard at work lately. “Of course both types of filmmaking have overlapping skills, as filmmaking is filmmaking,” says Dorsky.
While 1964 & ’65 saw the completion of a trilogy via the titles Ingreen, A Fall Trip Home, and Summerwind, it wasn’t until the ’80s that he began to finish the editing of a number of works shot throughout the two preceding decades. His first magnum opus, Hours for Jerome, a two-parter named after his partner Jerome Hiler and running a combined 45 minutes, is listed as having been made between 1966/70-1982. That is to say, as far as I understand, it was filmed from 1966 to 1970, and then finally edited as a whole in 1982. In 2012 it was added to the U.S. National Film Registry. Despite such notoriety, his work remains difficult to see.
Dorsky continued to produce a handful of works throughout the ’90s – including the integration of footage shot much earlier – until the 2000s saw his productivity boom, during which he completed forty-one short films over twenty years. In 2017 he released his second magnum opus, a 137-minute film in seven parts, titled Arboretum Cycle. The following year saw another title appended to the cycle, Colophon (for the Arboretum Cycle) — although this installment is typically screened independently. After hearing the rumblings of its superhuman beauty and otherworldly qualities, I found myself yearning to witness Dorsky’s work firsthand.
So much of film history is readily available thanks to the technological advancements made in my lifetime. My curiosity was further piqued by the absolute unavailability of Dorsky’s films — he has never allowed for the digitization of his filmography, which was shot entirely on celluloid. His reasoning for staying loyal to the medium is explained on his blog. However, late in 2019, he also announced the first-ever authorized digitization of one of his films, 17 Reasons Why (1985-87), for the occasion of MoMA’s exhibit, Private Lives, Public Spaces. Finally, someone could afford to produce a digitization which did justice to Dorsky’s preferred silent speed projections. (While most of his work is intended for projection at 18 frames per second, 17 Reasons Why is screened at 16 frames per second.)... [Read the full article + interview at: ultradogme.com]
For this program, I wanted to consider the medium of transmission. For quite some time, many of us have been experiencing 16mm and 35mm films (as well as digital videos) as digital files, DVDs, or …
by Michael Sicinski
For this program, I wanted to consider the medium of transmission. For quite some time, many of us have been experiencing 16mm and 35mm films (as well as digital videos) as digital files, DVDs, or as bits of streaming information. It’s something we now take for granted, even though we should always at least have it in the back of our minds.
But of course, the idea of having access only to home media, and the private viewing experience in particular, is something new. We did not count on toxicity or being under house arrest. We didn’t count on everything suddenly becoming television, the medium that exists almost exclusively in the private realm.
So since this program is decidedly not a conventionally public presentation, I tried to imagine having 75-90 minutes of airtime on some obscure cable TV channel. As I considered our current predicament, something occurred to me. There are cable channels that focus on almost every aspect of life — sport, politics, religion, travel, life with animals, science, history, children of all ages, weather conditions, and so forth. The only exception is death...
[Read the full program notes at: ultradogme.com]
by MLP As the festival came to a close, and my viewing-energy dwindled, my dear friend Anuj wrote me one evening to ask if I would be interested in watching an Indian film in the morning, and to in…
In these strange, scary and all around unprecedented times, there’s a considerable fret to find the most “relevant” film to best encapsulate what feels like a consistently devolving, worldwide heal…
SCHEDULE 2019 Browse the selections below to stream Thu 23 20:00h / ACUD STUDIO Selection #1 Summoning Bell streaming 21:15h / ACUD...
Online streaming of last year’s FRACTO program
Welcome to the first Ultra Dogme Virtual Film Festival. We are excited to be trying something new.
Nuages, une lettre à ma mere
