Almost Anything

10 minute experimental film. Warning: this video involves frequent strobing.

Time plods along in spattered irregularities as anger and depression coalesce in confusing amalgamations.

Platitudes begin at peaks then rapidly descend and dismantle in order to ascend more acutely until they repeatedly and successively overwhelm.

Lights flicker & fade as focus shifts from artificial to natural light, ending on a second artificial light speeding through the blackened miasma of the night sky.

'It was in San Francisco at a punk festival. I was already high and the air was so thick in the rooms that you could cut it with a knife. I had a photograph camera with me; I stood in a corner of the entrance hall and took 36 pictures on slide film. At home I put the slides into a slide projector. I took out the lens and filmed the slides by filming directly from the projector - using single frames according to a certain plan.'

3 minute experimental film.

This fantastical movie inspired by the music of Michael Jackson features imaginative interpretations of hit tracks from the iconic 1987 album “Bad”.

A film that places the bright and dark sides of life close together. From an understatement beginning, the movie drives up to an ecstatic highlight with a love act between two young people. The orgasm becomes an enormous image flow into the crematorium's death machine.

Shortly before his death, Romitelli together with his friend Paolo Pachini and the poetess Kenka Lèkovich, resurrected the dream of a total scenic art (a furnace of sensations, they called it, an_ initiation rite_) in the manner of the Futurists: rhythms and gleams of light striking metals (for the video part), poems in iron and chrome singing of fusion with matter (Kenka Lekovich), acoustic/electric music highly amplified, filtered, spatialised, in as artificial a manner as possible. An Index of Metals bears vigorous witness to this determination to go beyond: sizzling orchestration, electric and psychedelic; a voice which plays on effects, murmurs with reverb, cackles into a megaphone, screams like a pop star; and an electric guitar score of a kind that no ‘serious’ composer has ever written, sliding across an infinite range of tones with a lightness of touch and blurring of contours.

Gaining ideology from their last album Disco Volodar, the short film uses the core theme of space. The short film is filmed at Unit 3 Regents Trading Estate, the usual area for Sounds From The Other City. Using the philosophy of avante garde pioneer Maya Deren ‘one must at least begin with the body feeling’, the films opening is of the four piece standing atop of the hill in the Pendle countryside. This quickly melts into a warped reality and lands you into the POV of a camera and trapped in a liminal space where you see a band in session.

1 minute experimental film.

There is nothing left to do but complain.

James Sumner directs and animates the entire Dirty Projectors’ The Getty Address.

A film in five different sections, each containing a different soundscape by Ostrowski. Hand painted film, intense exposure, morphing textures and shapes into a seamless whole; geometrical games sabotaging themselves; and the incessant lure of the abstract paint drift. The soundscapes, of course, build up like fountains of picture, oscillating between contemplative sculptures with electronically manipulated strings and harsh noise attacks on our senses. Despite the use of sound as a central filmic element, Cyanonide stands as a proof of the enduring influence of Brakhage on american avant-film.

A young girl’s fiery dance, accidentally caught on 16 mm film in the street. The viewer is confronted by the sacrificial and the passionate, the strong and the fragile, the fleeting and the eternal. These are the faces of femininity.

Performance video about a holiday romance at St Ives, Cornwall.

Hiding inside&out, writhing about, taken out&in.

As years and years go by, a tiny civilization makes its way upwards.

Return to 'burn' only to find out you're already in that urn.

(Some of us) Still run down the same [mental&emotional] streets we revered/reproached/replaced as children.