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 ...
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A woman dressed elegantly walks purposely through the water gardens at the Villa d'Este in Tivoli, as the music of Vivaldi's "Winter" movement of "The Four Seasons" plays. Heavy red filters... See full summary »
Pierrot waxes romantic, entranced by the moon. Harlequin appears and bullies him, then uses a magic lantern to project an image of Columbine. Pierrot tries to court the illusory Columbine ... See full summary »
An army of gay/nazi bikers make their engines roar and ride the way to pain/pleasure as sexual and sadistic symbols are intercut into the dazing chaos and rhythmic experiences of this ... See full summary »
A soundtrack plays folk rock as a woman prepares, at noon, to take her Borzois for a walk. She goes through her dresses, all 1920s style flapper gowns, holding them one at a time, shaking ... See full summary »
Two people stand on a road, out of focus. Seen distorted through a glass, they retire upstairs to a bedroom where she undresses. He says, "Adieu." Images: the beautiful girl, a starfish in ... See full summary »
Kiki of Montparnasse,
André de la Rivière,
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 the Great Beast and the Scarlet Woman are part of a visual feast of images superimposed, hallucinations, and the spirit of decadence of the "Yellow '90s." Mythological images from Aleister Crowley, cabalistic symbols, artifice, and magic combine to render the pleasure dome both as prison and as celebration. Written by
Browsing the record for Kenneth Anger I was staggered to see that this masterpiece and Scorpio Rising were languishing in the 6.somethings ratings while the much less impressive Lucifer Rising was in the upper 7s... I can still recall the thrill I had in seeing this film at an 'underground' (literally!) screening in 1968. The colours seared from out of Anger's blackness and the characters have haunted my subconscious ever since. This is the most Crowley-like of Anger's films and all the better for it. There is true magic in his style and imagery.
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