From dragging steamboats over mountains, to holding Klaus Kinski at gunpoint, Herzog’s career has been guided by a quest for ‘ecstatic truth’, explored in a new exhibition at Amsterdam’s EYE Filmmuseum These interviews act as funny asides, embracing intense outsider figures the way Herzog al

I phoned Mick Jackson in LA to discuss THREADS. We also talked about A Guide To Armageddon, and The Day After, plus liquorice and all manner of nuclear horror.

We’ll be honest. The initial plan was to write a critical gaze over art docs. Not the schlocky biopics, or dewy-eyed reminisces of certain “scenes”, eras or places, but more straightforward (if beautiful) documentaries.

We’ll be honest. The initial plan was to write a critical gaze over art docs. Not the schlocky biopics, or dewy-eyed reminisces of certain “scenes”, eras or places, but more straightforward (if beautiful) documentaries.

The set-up for David Cronenberg's remake of The Fly is straightforward enough. The handsome, eccentric scientist Seth (Jeff Goldblum) is trying to perfect a teleportation device.

Rosemary Woodhouse has unwrapped a piece of steak from its waxy brown paper. She cuts it in half and drops it into a hot pan. It sizzles. She flips it. She takes it out after a few seconds and places it on a floral plate. Slicing a corner, she eats quickly, happily.

NEW ORLEANS — Linda Hamilton laughs the way Courtney Love sings, with great raspy bravado. It would be an intimidating laugh if it didn’t come easily, and if it weren’t so often offered at her own expense.

Click here for transcript. Put this link in the video's caption field. Two years ago, Ars Technica hosted the online premiere of a weird short film called Sunspring, which was mostly remarkable because its entire script was created by an AI.

In an era of countless reboots, we have come to regard the whole process as a cynical exercise whose primary goal is to slash expenditure, but that was not always the case. There was a time when remaking movies was about taking a classic conception and upgrading it to meet modern standards.

Let’s start by setting the record straight: mainstream comedies and dramas are great. In an increasingly complicated and frustrating world, cinema as a form of escapism is a valid move, and transporting an audience to a different world and making them laugh or cry is a noble endeavor in 2018.

To start our run up to Halloween, Thogdin Ripley and Philippa Snow of avant-horror publishers Hexus Journal pick thirteen films that blur the worlds of horror and the avant-garde to frightening, funny and sometimes shocking effect Horror film and experimentalism in film go hand in hand.

Like any other genre of film, television or literature, Folk Horror has its own collection of traits, tropes and tendencies.

Looking for literary/filmic examples of singularities, infinite pits, wormholes, whirlpools, bore holes, large spacetimes in tiny crevices.

But also... Peaks too high to navigate, infinite ascents, Sisyphean feats of endurance, energy spikes set to break reality, very tall towers.

An adorable black kitten is sitting on a bookshelf, eyes fixed on an insect. It sits, paws perfectly aligned. Then, out of nowhere, it pounces — leaping off the shelf and into the air, wild and frantic.

Something of an experiment. One frame was chosen from each shot of this excerpt from Cameron's 1984 film 'The Terminator.' The frames were then 'smeared' over the resulting gaps. Audio was left alone.Cast: Morgan

One of the big Hollywood blockbusters to hit the silver screen this year has been Mad Max: Fury Road, which has gotten rave reviews, with many praising the insane and complex visual design of the film.

In 2571 in the pile of crushed in the ruins of which stones is not determined in a blue planet this videotape was found. The fact is that you intend to see this, I have no relationship with this tape.

This video is very different to what you can imagine.

In 2571 in the pile of crushed stone from the ruins of that blue planet undetermined convert video tape was found. The fact that you intend to see, you need to have no relationship.

This log is completely different.

Music and drawings by Dave From 2001 (D2K1).

Suppose you were sitting at home, relaxing on a sofa with your dog, when suddenly your visual image of the dog gave way to that of a steaming bowl of noodles. You might find that odd, no? Now suppose that not just the dog changed, but the sofa too.

Pacer looked at the world in a way no film had before it. The geometry of the city and its construction, the artistry of Montreal's landscape seen the hyper-prism of a camera racing through time on different dimension. Compressed imagery and physical motion combine in a never-been-seen-before kind of way. Pacer can lay claim to being the first hyperlapse film, or at the very least, to being the precursor to it's development. It was shot on a Bolex 16mm camera in Montreal, Quebec in 1995. Shooting single frames, all the 'effects' are done in camera. The film's original negative was destroyed in it's one and only printing in 1995. That print was screened once and telecined for posterity, and the print was never projected again. The film would've fallen into obscurity, except for the low rez video version that was included in a VHS video magazine called Channel Zero in 1996. Other visual artists like TopherZ of the Dandelion Collective who saw that Channel Zero and began to pick up the technique, and with Guy Roland's subsequent film, Spacer, in 2004 (later known as Kino Citius), the technique of hyperlapse took shape. The only print of the film was carefully transferred to 2K digital in 2014 and painstakingly remastered in early 2015, resulting in the version you see here.

An excerpt from the audio commentary track on the British Film Institute's Dual Format Edition of RIDDLES OF THE SPHINX (Laura Mulvey and Peter Wollen, 1977). This exclusive extract was produced by Catherine Grant for the scholarly website FILM STUDIES FOR FREE with the kind permission of Laura Mulvey and the BFI in September 2013. Check out the related entry of links to online writings by and studies of Laura Mulvey's work as a film scholar as well as filmmaker: filmstudiesforfree.blogspot.com/2013/10/celebrating-laura-mulvey-or-film.html For more information about the BFI's Riddles of the Sphinx DVD, please see: bfi.org.uk/blu-rays-dvds/riddles-sphinxCast: Catherine GrantTags: feminist film, film theory, filmmaking, Laura Mulvey, Peter Wollen, British Film Institute, Marc Karlin, Motion Analyzer Projector, refilming, Ken Jacobs, sphinx, Mike Ratledge and electronic music