A pulsing, kaleidoscope of images set to an energetic soundtrack. A young women swings in a garden; a woman's face smiles. The rest is spinning cylinders, pistons, gears and turbines, ... See full summary »
Marie wants to escape from her job and also from her lover, Paul, an unemployed drunk. She dreams of going off with Jean, a dockworker. The two men quarrel and fight over Marie on two ... See full summary »
A solitary flower on a long driveway, a key falling, a door unlocked, a knife in a loaf of bread, a phone off the hook: discordant images a woman sees as she comes home. She naps and, ... See full summary »
Allan has a hard time finding the Usher's house, which is known to be cursed... But he is a personal friend of Roderick Usher, who lives with his sick wife Madeline and a doctor. Roderick ... See full summary »
Set during the occupation of Poland during World War II. Some German soldiers, slaughter a woman, her son and daughter-in-law. The husband and his father escape by being in the forest. The ... See full summary »
A spiral design spins dizzily. It's replaced by a spinning disk. These two continue in perfect alternation until the end: a spiral design, a disk. Each disk is labelled and can be read as ... See full summary »
A couple is brutally murdered in the working-class district of Paris. Later on, the narrative follows the lives of their two daughters, both in love with a Parisian thug and leading them to separate ways.
A long series of unrelated images, revolving, often distorted: lights, flowers, nails. A lightboard appears from time to time carrying the news of the day. Then, an eye. A woman in a car ... See full summary »
"The Seashell and the Clergyman" is the cinematic masterpiece of Germaine Dulac, mother of the first French Avant-Gard. Dulac is also believed to be one of the very first feminist filmmakers and this work is considered by many to be the very first Surrealistic film ever made (coming out one year before "Un Chien Andalou"). Many have tried to interpret this film from various perspectives but it has remained an enigma. Dulac called her work "integral cinema" and amazingly the constructs of this film hauntingly reflect patterns of what is now called Integral Theory (Ken Wilber, 1995). Looking back on this film through the lens of Integral Theory, everything makes sense and we see that this work and Dulac were just many years ahead of their time.
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