Sentences with phrase «surrealist film»

But it also has a dynamic black spirituality with connections to the Afro - Cuban voodoo practices in which a woman, in a state of spiritual possession by the orisha (or saint), is said to be ridden by the orisha like a horse; the surrealist film maker Maya Deren actually documented a Haitian voodoo rite of this kind in «The Divine Horsemen» (1947 - 51).

She has published on surrealist film, theories of attention in film and the role of the body in moving image work.

Miami - born artist Ana Mendez talks about Liminal Being, her action - based performance project inspired by Maya Deren's 1940s surrealist film Meshes of the Afternoon.

The «documentary» — which is actually just a series of clips from short surrealist films — also happens to be presented and hosted by...

I am reminded of some of those old black & white surrealist films but can't quite recall a specific one, and action painting, abstract expressionism, neo Dada, are all in here too, as are art - historical / art critical ideas of constructivism, all overness, and Leo Steinberg's «flatbed picture plane», in other words modernism, post modernism, and I want to say post-post modernism (Metamodernism even).

Not exact matches

That Winding Refn's ninth film is dedicated to the Chilean surrealist filmmaker Alejandro Jodorowsky (best known for El Topo and Santa Sangre and a mentor to Winding Refn) gives you an idea of the kind of uncompromising material we're looking at.

Wonderfully theatrical in conceit and frequently beautiful to look at, Archangel is nevertheless choppy and listless in pace, and has little of the surrealist zing of the earlier film (Tales from the Gimli Hospital).

And when the original movie's bellowing dwarf medium is replaced by Jared Harris's smirking Irish TV psychic, the film takes a turn for the tacky, eschewing Hooper's surrealist blowout in favour of pointless overexplanation and a feeble climax.

EC: What's ironic about it is that this colonel's uniform, one of the most surrealist elements in the film, is at the same time one of the few that's drawn from Hollywood history.

Her 1966 film «Daisies» might have been the most anarchic of all, a candy - colored surrealist fantasy of two young women who turn their boredom into in - your - face fun.

12:00 M — Sundance — The Discreet Charm of the Bourgiousie Luis Buñuel made a career out of making surrealist anti-bourgeois films, and this is one of the most surreal, most anti-bourgeois, and best films he ever made, about a dinner party that just can't quite get started due to completely absurd interruptions.

Arriving from the postwar America experimental film movement as a sort of answer, at least initially, to Buñuel and the surrealists, Anger's artifice and... Read more»

What You Need To Know: Michel Gondry «s films are generally regarded as surrealist and wacky, but this discounts the realism and community concerns found in documentaries and docu - dramas like «The Thorn In The Heart,» «The We And The I,» and even the second half of «Be Kind Rewind.»

Best of all, when the film reaches its logical end point, Refn just keeps pushing, and eventually lands on a sequence so jaw - dropping — involving the moon, an eye and a blade, perhaps in winking tribute to Luis Buñuel and Salvador Dali's legendary surrealist short Un Chien Andalou — that all you can do is howl or cheer.

But the screenplay by Bruce Wagner, whose novels («I'll Let You Go,» «Still Holding») explore the film industry's demimonde, is way too erudite to be easily dismissed (a key plot point involves surrealist poet Paul Eluard's «Liberté»).

John C. Reilly is starring in two of the most out - there films at Cannes, Matteo Garrone's medieval fairytale mash - up Tale of Tales, in which he plays a king who battles a sea monster, and Greek surrealist Yorgos Lanthimos's The Lobster, in which he is a single man in danger of being turned into an animal if he doesn't find a romantic partner.

In a film year marked by gothic imagery, twisted interpretations of classic myth, and send - ups of modern art, who'd expect all three from the sequel to John Wick, the surrealist action movie par excellence that cast Keanu Reeves as a hit man out to avenge his dog?

The flagship of the Festival, section Oficial Fantàstic, presents some of the most eagerly awaited movies of the year, such as Only God Forgives by Nicolas Winding Refn - director of Valhalla Rising and Drive; Jim Jarmusch's latest film Only Lovers Left Alive, an eternal love story between two vampires; A Glimpse Inside the Mind of Charles Swann III, a surrealist comedy by the hand of Roman Coppola; The Congress, a spectacular adaptation of Stanislaw Lem directed by Ari Folman - responsible for Vals with Bashir -, that combines animation with a science - fiction story starring Robin Wright and Harvey Keitel; Sitges 2013 will also represent the return of Kiyoshi Kurosawa to the fantastique genre with Real.

It is a rather short feature film, and probably not very substantive to entertain those looking for depth, but for those looking for a surrealist shock-fest on the edge, Ozon covers a lot of mileage in a short amount of time.

Upcoming film series will highlight Figueroa's work with Spanish surrealist Luis Buñuel, the Hollywood films that the cinematographer shot over his 50 - year career for directors such as John Huston and John Ford, the films of the early 1930s that spurred Figueroa, and contemporary Mexican filmmakers whose work invokes Figueroa's legacy.

King of Jazz (John Murray Anderson, Pál Fejös, 1930) This newly restored two - colour Technicolor treat is a revelatory combination of Art Deco surrealist set - pieces, acrobatic choreography and démodé trick photography bouncing off extremely dated but charmingly goofy humour and jazz which could scarcely be any more trad (notwithstanding that Gershwin's glorious «Rhapsody in Blue», written for the «King of Jazz» himself, bandleader Paul Whiteman, and used prominently in the film, was a pointer to certain new directions).

Whether it's the storybook compositions of his recent movies or the surrealist riffs on action films of Bottle Rocket and The Life Aquatic,...

These included the films of Alfred Hitchcock, Fritz Lang, F.W. Murnau and Walt Disney, as well surrealist painting, the macabre literary works of Edgar Allen Poe and the delirious writings of Thomas De Quincy.

Its aesthetic influences, which range from David Lynch to Gaspar Noé, all but guaranteed the film's elevation from the slums of B - movie obscurity to some kind of vulgar - auteurist master class, where a surrealist action niche nobody asked for could suddenly be filled.

In a career that spanned 25 years, yet produced only two feature films, this playful surrealist displayed an anarchic sensibility tempered with unexpected compassion.

Italy's film giallo — garish, bloody, and melodramatic — says as much about the country as its understated neo-realistic or high - brow surrealist works.

This iconic painter and sculptor was perhaps the biggest figure within the surrealist movement, and his works encompassed paintings, film and writing.

Quote is an isometric action RPG video game which takes its graphical inspiration from surrealist artists such as Hieronymus Bosch, and legendary film directors such as Tim Burton and Guillermo Del Toro.

Influenced by the surrealist and deeply symbolic films of Alejandro Jodorowsky, Jungian archetypes, and fairy tales, «Phantasmacabre» depicts a lush and layered symbolic world that explores the realm of memories and dreams.

Though Lynch may be best known for creating Twin Peaks and other dark, non-linear, surrealist cult films (Eraserhead, 1997; The Elephant Man, 1980; Dune, 1984; Blue Velvet, 1986; Mulholland Drive, 2001), Lynch is also painter, printmaker collage artist.

A leading figure in both contemporary film and art, Apichatpong Weerasethakul (born 1970) has developed a singular, realist - surrealist style in which the portrayal of the everyday alongside supernatural elements suggests a distortion between fact and -LSB-...]

Born in 1933, internationally recognized American artist, Bruce Conner is best known for his assemblages, surrealist sculptures, avant - garde short films and detailed paintings and drawings.

A leading figure in both contemporary film and art, Apichatpong Weerasethakul (born 1970) has developed a singular, realist - surrealist style in which the portrayal of the everyday alongside supernatural elements suggests a distortion between fact and folklore, the subconscious and the exposed, and various disparities of power.

The short film Ether Reveries (Suite for Thérèse Rivière no. 2)(2017) is a surrealist dream montage set in a flower market in Tangier.

Beginning with Aleister Crowley's trance portraiture and Austin Osman Spare's automatic drawing of the early 20th century, the exhibition traces over 100 years of occult art, including Leonora Carrington and Kurt Seligmann's surrealist explorations, Kenneth Anger and Ira Cohen's ritualistic experiments in film and photography, and the mystical probings of contemporary visionaries such as Francesco Clemente, Kiki Smith, Paul Laffoley, BREYER P - ORRIDGE, and Carol Bove.

The film is a surrealist combination of Hitchcock's trademark cameos, in this case by doppelgängers of the famous director, as well as Grimonprez's first reference to Hitchock's The Birds and the actress Tippi Hedren, all critical narrative devices in his subsequent full - length feature Double Take.

This screening program focuses on three of the Surrealists» most memorable cinematic efforts, among them Luis Buñuel and Salvador Dalí's 1928 film Un Chien Andalou, which, in its first few minutes, features a man graphically slicing open his lover's eye.

Over the course of nearly two decades (1931 — 49), Levy exhibited contemporary photography and works by Surrealists, Cubists, Social Realists, and Neo-Romanticists, such as British artists Paul Nash and Henry Moore; he also screened experimental films and showed posters, cartoons, and original watercolours by Walt Disney, which would have been characterized as «low» art forms.

Experiments with life stories, written in a language of icons and caricatures, of simple pictures, of films or surrealist photos.

Audiences in Cardiff as well as London will get a chance to experience his large - scale installations and surrealist videos as Williams is nominated for the # 40k Artes Mundi 7 prize (National Museum Cardiff & Chapter, 21 Oct to 26 Feb 2017), alongside six others, including Akomfrah, as well as Angolan performance artist Nástio Mosquito and German - Japanese film - maker Hito Steyerl.

This group exhibition examines the potency of the Narcissus myth in surrealist and contemporary art, photography, installation, film and video.

The exhibition also includes a selection of surrealist photography and film, exploring the idea of doubling of the self, mirroring and reflection, which all relate clearly to the Narcissus myth.

A leading figure in contemporary film and art, Apichatpong Weerasethakul has developed a singular realist - surrealist style in which the portrayal of the everyday alongside supernatural elements suggests a distortion between fact and folklore, the subconscious and the exposed, and various disparities of power.

The artwork observes Keen's early experimentations as a filmmaker — blending bizarre narrative, explosive animation and an orgy of surrealist collage with a ramshackle, stop - motion glimpse of film noir.

In addition to famous paintings and sculptures, visitors can discover surrealist objects, films and photographs, which were new artistic media in the 1920s.

They tell stories in the manner of surrealists like Remedios Varo or Leonora Carrington, to whom Heffernan has been compared.4 Furthermore, such ambiguous narratives more closely parallel the postmodern work of Cindy Sherman's untitled film stills or Kara Walker's silhouettes, than the clear and didactic narratives of history painting.

Ruscha is a pop artist, a conceptual artist and a surrealist whose images portray the same sinister Hollywood you see in David Lynch films.

Expect to see a diverse selection of works including early examples of Victorian painting and film adaptations, surrealist artists and contemporary photographers.

A play by Shana Lutker stitches together film, live action and news reports of the 1920s to chronicle a famous fistfight by surrealist artists — part of an ongoing exploration of surrealist fistfights by the artist.