This is the first feature directed by Patricia Gruben, who created the much-admired “The Central Character” and the award-winning “Sifted Evidence.” Gruben is one of Canada’s foremost filmmakers, part of a new generation which combines avant-garde techniques with narrative elements. “Low Visibility” finds a man wandering alone on a snowy mountain roadside, waving his arms and shouting at the sky. The enigmatic Mr. Bones, an apparent amnesiac, is unableor unwilling to explain what has happened to him. He arouses, as a result, the curiosity not only of the doctors and nurses of the hospital he is taken to, but also the local news media searching for a story and the police who enlist the aid of a clairvoyant in their investigation. In their efforts to find out the true story, these people build an elaborate network of speculation and suspense which ends in paradox. The points of view multiply as Mr. Bones is seen through the eyes of the news camera, the hospital surveillance video recorder, the eyes of those around him and the visions of the psychic. Mr. Bones, meanwhile, blankly watches snow on the ever-present TV screen. “Few fringe filmmakers are as good at directing actors as Gruben, and Larry Lillo develops a convincing portrait of traumatized insanity.” – Kaja, Variety
Filter Films
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“Blurring the line between friends, lovers and maybe even complete strangers, Brynntrup presents a video catalogue of his brushes with intimacy, intercut with grainy stills and retro porn.” – Inside Out Lesbian & Gay Film & Video Festival, Toronto 1998
LOVERFILM – eine unkontrollierte Freisetzung von Information | LOVERFILM – An Uncontrolled Dispersio
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Hand-painted (closed-eye) film envisioning optic feedback in response to sound. Collaborative sound track compiled by Joel Haertling with sound contributions by Die Totliche Doris (W.G.), Zoviet France (U.K.), Nurse With Wound (U.K.), The Hafler Trio (N.L.), Joel Haertling (U.S.), I.H.T.S.O (W.G.).
Loud Visual Noises (Sound Version)
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“Lotería” is an impressionistic documentary comprised of a series of interviews with street vendors, lottery officials, and the children responsible for drawing the winning numbers. These children, referred to as “gritones” (they literally shout out the numbers), are employed because their innocence is considered incorruptible. Rather than taking a conventional reportage approach, “Lotería” presents Mexico’s lottery as a visual and auditory phenomenon. The illusionary quality of the lottery as a part of Mexico’s cultural history is represented through the textured layers of the film’s sound and photography. Shot on both colour and black and white, Super 8 and 16mm, with optical visual effects as well as music recorded on the streets of Mexico City, “Lotería” eschews the traditional expository documentary form, offering instead an imaginative, observational approach. Spanish with English sub-titles.
Lotería
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This series of films, each extraordinarily unique from every other (except “0 + 10” going together) is inspired and governed by strata of the mind’s moving-visual-thinking different from that of the “Roman Numeral Series” or perhaps one should say that the Arabic Numerals come to fruition thru some tree-of nerves separate from that which gave birth to the Romans (as it is physiologically deceptive to think of thought as existing in “layers”). The Arabics range in length from approximately 5 min. to 32 min. and may be projected at 24 fps as well as 18, tho’ the latter speed seems preferable for starts. I think each film’s integrity of rhythm would allow viewing at a greater variety of speeds, were there the 16mm projectors to allow that exercise. So far as I can tell, they defy verbal interpretation (even more than their Roman equivalents) and would, thus, seem to be closer to Music than any previous work given me to do; but if that be true, it is (as composer James Tenney put it to me) that they relate to that relatively small area of musical composition which resists Song and Dance and exists more purely in terms of Sound Events in Time/Space. Finally, then, the inspiration of all those modern (and a few ancient) composers I’ve most loved since my teens overwhelms the easier, and comfortably lovely, habits of jig and do-re-mi AND creates a visual correlative OF music’s eventuality – i.e. each Arabic is formed by the intrinsic grammar of the most inner (perhaps pre-natal) structure of thought itself.
Arabic Numeral Series – Arabic 9
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Guillaume’s obsession: prove that angels exist. Guillaume seeks proof, but the world he inhabits escapes definition. He doesn’t know, but he’s lost in the no-zone. A film made entirely from still photographs with animation… Angels, murder, mystery and intrigue… a sensual journey into the real of the fantastic. A fantasy photo novel in film.
Lost in the no-zone
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A lyrical montage paralleling the romantic purity of nature with the emotional purity of love. A visual abstraction of reflections on love, hopes, dreams, and the reality of an HIV test.
Lost Hope, Lost Dreams
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A multiple-superimposition hand-painted visual symphony of animal life on earth. “The Loom” might be compared to musical quartet-form (as there are almost always four superimposed pictures); but the complexity of texture, multiplicity of tone, and the variety of inter-related rhythm suggest symphonic dimensions. The film is very inspired by George Melies: the animals exist (in Jane’s enclosure) as on a stage, their interrelationships edited to the disciplines of dance, so therefore one might say this hardly represents “animal life on earth”; but I would argue that this work at least epitomizes theatrical Nature, magical Creature, and is the outside limit, to date, of my art in that respect. (The balance-of-light was so perfectly realized in making collaborator in the accomplishment of this work). (SB) “‘The Loom’ uses multiples superimpositions (some meteorological, others fiery passages of hand-painted film) to transform a humble barnyard into a sensational phantom zoo.” – J. Hoberman, Village Voice
Loom, The
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“A revelation of the editing process…done with remarkable care and precision…. The interrelationship between moving body and moving camera is heightened to the intensity of a struggle.” – Joyce Nelson
Look! We Have Come Through!
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A babbling talking cure; an explanation; a walking tongue; a description of the juncture between I and you; the difference between what I feel and what I know; the body, the mind and what stands between – LOCKJAW.
Lockjaw
