From a murky landscape, a wooded mountain emerges. We watch the sun. We see a bearded man climbing up the mountain through the snow. He carries an ax, and he's accompanied by a dog. His ...
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A man, accompanied by a dog, struggles through snow on a mountain side. We see film stock blister; drawn square shapes appear. Then, we see an infant's face. The images of struggling ... See full summary »
A man is supine on a mountain side. Images rush past of nature and a stained glass saint. An infant is born. We see a lactating nipple. Images include a mountain peak, farm buildings, a ... See full summary »
Sexual intimacy. Three kinds of images race past, superimposed on each other sometimes: two bodies, a man and a woman's, close up, nude - patches of skin, wisps of hair, glimpses of a face ... See full summary »
Images of two women, two men, and a gray cat form a montage of rapid bits of movement. A woman is in a bedroom, another wears an apron: they work with their hands, occasionally looking up. ... See full summary »
A visual representation, in four parts, of one man's internalization of "The Divine Comedy." Hell is a series of multicolored brush strokes against a white background; the speed of the ... See full summary »
We see a film negative of a nude couple embracing in bed. Then, back in regular black and white images, we see them alone and together, clothed, at home. It's night, she sees his reflection... See full summary »
From a murky landscape, a wooded mountain emerges. We watch the sun. We see a bearded man climbing up the mountain through the snow. He carries an ax, and he's accompanied by a dog. His labors continue. There is no soundtrack. Images rush past - water, trees, and surfaces too close up to distinguish. He struggles. A fire burns. Nature, in long shots and magnified, is formidable and silent. It's tough going; he carries on. In a capillary, blood flows. Written by
The trouble with Brakhage, and most avant-garde film, is that, while experimentation is valuable to the artist, it isn't necessarily art in itself. This 60's film is simply an experiment in visual manipulation, which occasionally has some interesting ideas that go nowhere in particular. The division of the film into sections seems unnecessary and, as far as I can tell, follows no particular reasoning. If you're on acid, you might love this film. If you're a filmmaker, you might find it interesting here and there. In general, however, it's not worth the time.
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