[Editor's Note: This is the latest entry in House contributor Kevin B. Lee's Shooting Down Pictures, a record of his ongoing quest to see every title on the list of the 1000 Greatest Films compiled by They Shoot Pictures, Don't They? Please note that the countdown number is the same for this and the previous entry, due to a recent revision of the top 1000 list that set Keivn back one title (much better than last year, when he was set back 40 titles!).]

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In some ways, Stan Brakhage's 4-plus hour magnum opus isn't so much an epic of experimental cinema as the most intensely comprehensive horror movie that hardly anyone has seen. It's a horror of metaphysical proportions: its five-part structure takes universal elements of existence and renders them into a symphony of shock visuals inducing a state of alienated perception. Brakhage's exhaustive vision summons a bracing repertoire of filming and editing techniques, including whip pans, color tints, lens distortions, and scratched and painted frames. Assaulting and enthralling, this technique calls attention to the celluloid medium existing almost independently of the real world, and impels an ethos of seeing for seeing's sake.

The Prelude launches a barrage of images of the natural world chopped and decontextualized into a stream of organic gibberish. It's a ruthless effort to deprogram viewers from their anchoring in narrative and divorce vision from cognition, replacing meaning with the sheer sensory power of image-in-itself. It's somewhat puzzling that he follows this brazen opening with Part I, which teases a basic narrative of Brakhage arduously scaling a snowy mountain, suggesting a symbolic struggle of everyday life. Part II returns to a more abstract representation, intercutting shots of an infant with flashes of the world around it: the bewilderment of childhood, naked and exposed to a fearsomely vast universe.

Part III, the most wildly sensual section, can stand on its own as one of the longest and strangest sexual acts ever committed to celluloid. Sex is conveyed not through literal intercourse but through lingering close-ups of skin and hair, lurid orange and blue tinted glimpses of naked flesh writhing in fluid, and nauseating shots of guts being torn apart, conveying both a physical and emotional rending of self in the throes of erotic passion. It's charged with both excitement and dread, horrified and inflamed by sex as an act of both love and violence.

Part IV seems to end over and over in a relentless loop, repeatedly showing Brakhage hacking away at a tree with an ax, existence as a restless cycle of debilitation slowly winding down to death, while flashing to distorted shots of body parts, landscapes and scratched and painted celluloid. In the end, there is only the work as a remnant of life's toil and suffering, whose value amounts to nothing more than fiery embers eagerly consuming its own existence.
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To read the rest of the article at Shooting Down Pictures, click here.

[Editor's Note: This is the latest entry in House contributor Kevin B. Lee's Shooting Down Pictures, a record of his ongoing quest to see every title on the list of the 1000 Greatest Films compiled by They Shoot Pictures, Don't They?]

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A fascinating war wages in a German girls' boarding school at the cusp of the Nazi era: not just between the hormonally-charged girls and their authoritarian teachers and schoolmistresses, but between the lively, chaotic movements and warm, supple textures of the girls striving against the film's encompassing form: coldly cavernous hallways, a camera obsessed with pinning subjects against its precise angles, and the lockstep rhythm of academic ritual. The film's first act, where an emotionally unstable girl (Hertha Thiele) is matriculated into the institution, is dominated by a sense of enclosure within militaristic protocols, but gradually gives way to pockets of idleness and intimacy among the girls, who seek gratification for a variety of impulses in an even greater variety of ways: pin-up photos of movie stars, love notes from other girls, officially sanctioned bullying, and perceived favoritism from the headmistress. Played by Dorothea Wieck, the headmistress embodies the contradictions of this institution: her mannish shoulders and gait convey a domineering authority that the girls seek pleasure by satisfying, encouraged by her soft, flirtatious gaze suggesting a warm, maternal presence underneath. Her character knows the rules of discipline, and she knows how to bend them to her own advantage, most memorably in a perverse sequence where she bestows good night kisses on the faces of a roomful of grateful girls. The film's once-controversial status as anti-authoritarian, proto-feminist and ultimately pro-lesbian is by now a non-starter; more troubling is the glaring subtext of pedophilia that remains largely unaddressed. All the same, this is a landmark work, blessed by a stylistic rigor that serves its subject matter perfectly.
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To read the rest of the article at Shooting Down Pictures, click here.