Claire Lescot is a famous prima donna. All men want to be loved by her. Among them is the young scientist Einar Norsen. When she mocks at him, he leaves her house with the declared ... See full summary »
Léonid Walter de Malte,
A young artist draws a face at a canvas on his easel. Suddenly the mouth on the drawing comes into life and starts talking. The artist tries to wipe it away with his hand, but when he looks... See full summary »
Elizabeth Lee Miller,
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 »
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 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 »
An experimental film shot for $25,000 in a Manhattan loft. It opened in New York in March, 1947 and went on to win the Venice Film Festival Award for the best original contribution to the progress of cinematography. See more »
(singing on soundtrack):
Oh Venus was born out of sea-foam / oh Venus was born out of brine / but a girl of today / if she is grade A / is assembled upon the assembly line
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I spent my birthday watching this heretofore unknown masterpiece with a few non-filmie friends, who were also rewarded by the experience. First-wave abstract filmmaker Richter comes to America, picks up some noir affectations and calls it narrative: fedora'd lout in ratbag apartment sets up a business reading dreams for various clients. This allows just enough structure - and HUMOR, crucially - to draw the uninitiated into its tour of Surrealism's Greatest Hits. Man Ray, Max Ernst, Marcel Duchamp, on and on and on, Richter has assembled a powerhouse crew for his dream sequences, with the likes of John Cage on music, and the segments are varied, hypnotic, and hang together perfectly, from Duchamp's patented hypno-spiral shtick to a pipe-cleaner circus scene that reminds me of Allyson Mitchell. The color is great and well used, and Richter's own conception on the end sequence ties everything together perfectly. Furthermore, while it may not 'mean' anything, there IS a 'logic' to it, I swear, although I was having too much fun letting it wash over me to pursue it very far. These old men point toward a future that hasn't even arrived yet, but seeing it makes you want to join the project. I LOVE this movie.
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