An anonymous narrator outlines a bizarre journey taken through "H", aided by a series of extraordinary maps, and his previous dealings with the mysterious Tulse Luper and the keeper of the ... See full summary »
Hypnotic photography of swirling rivers and misty ponds and droning music (not Michael Nyman for a change) form the backdrop to a documentary-style narration about the history of a ... See full summary »
A narrator relates a variety of peculiar stories involving characters with the initials HC and their dealings with telephones. These are interspersed with artistic shots of telephone boxes ... See full summary »
A short film which has its emphasis on back street walls with peeling posters and the constant pedestrian traffic in the foreground. It has a static camera positioned in front of the walls;... See full summary »
Tongue-in-cheek, early Greenaway short reflects the incredibly meticulous encyclopedic nature of his early films. An attempt is made to "reconstruct" a proposed, but never made, film ... See full summary »
The venerated filmmaker Eisenstein is comparable in talent, insight and wisdom, with the likes of Shakespeare or Beethoven; there are few - if any - directors who can be elevated to such ... See full summary »
H is for House is another of Peter Greenaway's early pre feature film experimental works. Set in an idyllic location in the English countryside, a mother and her young daughter relax by an old cottage. It is an exercise in editing as much as anything, with many static shots of various things. It does have quite a nice atmosphere about it and is a far warmer film that is usual for Greenaway, probably on account of the tranquil set-up and characters. Aside from the visuals, there is much unusual narration and one of the ideas explored is the artificiality of how we categorise things alphabetically. Many disparate things begin with the letter H for example, and the film considers this absurdity. This kind of obsession is precisely the kind of thing you would expect of Greenaway in fairness, as he has delved into such specific topics on various other occasions. I actually found this to be one of his more enjoyable short avant-garde works though. I suppose the reason for this is that I tend to respond to his visual ideas more favourably than his intellectual ones and in this case the words didn't engulf the imagery as much as usual. So, on the whole, I found this to be an interesting and relaxing left-field short.
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