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 »
A rhythmically edited alphabet composed of street and shop signs shot in New York City and other elements is gradually replaced by repeated seemingly abstract shots in this influential structuralist film.
15-year-old Mike takes a job at the local swimming baths, where he becomes obsessed with an attractive young woman, Susan, who works there as an attendant. Although Susan has a fiancé, Mike... See full summary »
Karl Michael Vogler
Sergio (Sergio Corrieri - Soy Cuba), through his life following the departure of his wife, parents and friends in the wake of the Bay of Pigs incident. Alone in a brave new world, Sergio ... 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 »
I've got to say, the human brain certainly didn't evolve to survive an Ernie Gehr-style work-out. The image captured by a movie-camera does not approximate reality, but instead exists in a world completely detached from our own everyday experiences. Gehr once described film as "a variable intensity of light, an internal balance of time, a movement within a given space." In 'Serene Velocity (1970),' space is the most important variable. The director planted his camera in the deserted basement corridor of a building at Binghamton University, and continually tinkered with the focal length on the lens. Maddeningly and unrelentingly, the camera's perspective of the hallway rapidly switches back and forth, and then the human eye starts to play tricks on the mind.
I leaned forward towards the screen, and suddenly felt as though I was hurtling down the hallway, its previously angular walls now bending inwards, and its path twisting and turning like a wayward mine-cart railway (yes, I did have an 'Indiana Jones and the Temple of Doom (1984)' flashback). This surreal sensation of movement occupied me until around the five-minute mark, and then I lost most of my interest. Though determined to keep my attention fixated on the screen, the illusion of movement had soon left me, and I instead felt as though I was simply standing in a lonely corridor, the lights flickering on and off in an epilepsy-inducing fashion (it's curious how my brain began to entirely block-out every second image). While not without interest to experimental aficionados, 'Serene Velocity' nevertheless made my eyes hurt, and now I'm going to bed.
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