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A Slavonic Mass by Leos Janácek plays as historical figures, biblical characters, and mythical creatures gather in the pleasure dome. Aphrodite, Lilith, Isis, Kali, Astarte, Nero, Pan, and ... See full summary »
Samson De Brier,
A wordless film, save for a voice-over introducing us to the imagery of dreams. A shirtless young man dreams of awakening to finds photographs of a muscular sailor carrying him in his arms. He goes to a bar where the sailor from his dream displays his muscular upper torso. A gang of sailors, swinging chains, enters menacingly. He watches, smoking. They surround him and an assault begins. Surreal touches accent the dream-like qualities. A phallic firework, a flaming Christmas tree, and the burning photographs provide climax and closure as the young man, back in bed, is beside the sailor.Written by
The original negative and Kenneth Anger's subsequent hand-tinted prints were lost. The current extant version is constructed from early 16mm prints and was painstakingly restored by UCLA. See more »
[voice over narration]
In Fireworks, I released all the explosive pyrotechnics of a dream. Inflammable desires dampened by day under the cold water of consciousness are ignited that night by the libertarian matches of sleep, and burst forth in showers of shimmering incandescence. These imaginary displays provide a temporary relief.
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First publicly screened with no opening titles. A title sequence and narrated prologue by Anger was later added. In 1966, Anger exhibited a version with hand-painting, the only copy of which was later lost in a fire. A later version featured a new title sequence and was printed with a blue color cast. See more »
Anger's first film was made over the course of a weekend at his family home. His parents were away. He was Seventeen.
The film is a short and immensely effective exploration of sexuality. That the fantasies are of homosexual leaning bears no relevance; it is merely the chosen vehicle for the subject.
The film is fascinated with the violence of sexual submission as well as the fear of it. The narrative seems to take the form of a dream sequence and is laced with astonishingly mature sarcasm and gentle wit. It is by far Anger's greatest film and a landmark of the American avant-garde.
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