Near an extraordinary chair with many legs, a hand is visible gripping an edge. The hand is weathered, the fingers cracked and scarred. The end of a rifle appears and a shot fires. The ...
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A tear falls from the eyes of a veiled face. A white ball whips around a heart-shaped paddle. A mournful voice sings, "Are we still married?" A child's stuffed rabbit watches, sees ... See full summary »
A magnet moves on a floor. A moth beats against a window. A doll child watches the magnet; threads of metal filings gather around the magnet. The doll, who's sitting at a table, looks in a ... See full summary »
A man closes up a lecture hall; he reaches into a box and snips the string holding a gaunt puppet. Released, the puppet warily explores the darkened rooms about him. Screws twist out of ... See full summary »
In Prague, a professorial puppet, with metal pincers for hands and an open book for a hat, takes a boy as a pupil. First, the professor empties fluff and toys from the child's head, leaving... See full summary »
A woman sits alone on a chair at a table in a room on one of the top floors of an asylum. Bright spot lights dot the night, sometimes shining on her window. She sharpens pencils and writes ... See full summary »
Loosely based on the Mesopotamian "Epic of Gilgamesh", here Gilgamesh is portrayed as a grotesque, Picasso-esque being who uses a tricycle to patrol his box-shaped kingdom that hovers above a dark abyss.
An enigmatic story told in seven chapters, each introduced by an elliptical sentence on a title card. A man is in an apartment. He goes outside where a red tram runs beside a cathedral. He ... See full summary »
Near an extraordinary chair with many legs, a hand is visible gripping an edge. The hand is weathered, the fingers cracked and scarred. The end of a rifle appears and a shot fires. The bullet is visible whirling through space; it caroms and then goes through a pine cone. A long spoon emerges from a drawer in the chair and stretches toward the hand. The bullet is on the spoon. Later, the hand holds the bullet between two fingers; another shot is fired. Written by
It's not very often that I find something that is so entirely the work of unique filmmakers and still find it not nearly as good as their other works.
The Brothers Quay's Stille Nacht III doesn't have the same engaging presence as their other shorts. The motion of the fired bullet is the only thing that really stands out on it. The rest of the short is darker, much darker even than their usual lighting, and it's hard to see. The movements don't seem as up-to-speed as they usually do, and it's much harder to see what the Quays are trying to do, exactly.
Also, as a product of the Stille Nacht series, it has not the repeated imagery and re-workings of the other four segments. It doesn't feel connected at all.
Interestingly enough, parts of this short were used as the theatrical trailer for Institute Benjamenta, the Quay Brothers' live-action full-length film. And, amusingly enough, it works better as a commercial for things to come than a stand-alone work.
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