A lonely widowed housewife does her daily chores, takes care of her apartment where she lives with her teenage son, and turns the occasional trick to make ends meet. However, something happens that changes her safe routine.
Through an unconventional use of concise narrative, a conceptual collage of sounds and images, and a rapid-fire montage, Arthur Lipsett's first film vividly portrays the urban estrangement in the times of social erosion and materialism.
Arnold's original material is a piece of found-footage from the 50s. 18 seconds long and very typical for the period. A quiet take: a living room, a woman in an arm-chair. Her husband opens... See full summary »
The hero of Instructions for a Light and Sound Machine is easy to identify. Walking down the street unknowingly, he suddenly realizes that he is not only subject to the gruesome moods of several spectators but also at the mercy of the filmmaker.Written by
Bernardo van Olst
Austrian experimental filmmaker Peter Tscherkassky inserts Sergio Leone's iconic spaghetti western The Good, The Bad and The Ugly in the meat grinder of his optical printer and proceeds to rip it to shreds and rearrange it back into a tangled network woven with walls of white noise, epileptic negative images coalescing with their positive selves and tiny particles of movement broken out of their proper place and stripped of all direction. What remains is a swarm of splinters, shards of image flying directionless, furrowed with the traces of the manual process of production. Tuco being hanged a thousand times. Angeleyes' telescope burning holes of image in a black frame, out of these holes a face emerging, seeing invoking the object of its desire. Like other Tscherkassky works, it's a painful watch that is guaranteed to make your eyes bleed. It will be of interest to those searching for new ways to dissect cinematic form but I'm not sure about the rest.
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