The story of our was inspired by William Caxton, the first English printer, who published Reynard the Fox in 1481. Caxton reminds us that people from different countries have been sharing animal fables with each other for centuries. Caxton worked for more than 30 years in Flanders and became a fluent speaker of Dutch; he translated the beast epic of Reynard the Fox, from Dutch into English, and thanks to this translation this animal story became hugely popular in England too. Today not everyone is familiar with the wily fox Reynard and his mortal enemy, Ysengrim the Fox, with Bruin the Bear and King Noble the Lion, but once upon these were household names.
During an extravagant gathering of friends, the atmosphere slowly becomes charged with tension and discussions begin to arise. Gradually, the conflicts give way to a surreal spectacle, where music takes control and completely transforms the surroundings. Logic vanishes, leading the attendees on a hypnotic and abstract journey, where every note and movement intertwine in a fascinating dance.
An amateur handmade film found on the backside of another paper film that includes theatrical signage, admission prices and a recreation of a chase scene from the 1955 film noir Cell 2455 Death Row.
At Olivet, some students don’t meander past the Dairy Queen near the stoplight..but those who make the trek to the Sims Building are creative minds who are bursting with ideas. Purpose Productions presents a film that leads you through a journey of inspiration, color, and heart. All you have to do is go off the beaten path.
Have you ever seen something on the internet that you just couldn't explain? Maybe it was posted yesterday, maybe it was posted 10 years ago. Either way, you just couldn't seem to get it out of your mind? A scam artist takes real missing person cases and distorts them to fit his science-fiction narrative. But could there be validity in his findings?
Atmospheric Offense is an interpretation of Ida Lupino’s 1953 Noir Thriller The Hitch-Hiker that explores how narrative both remains and disappears when exposed to avant-garde techniques, which include removing dialogue, jarring and destructive ellipses, the creation of loops to focus on certain elements, reimagining of time, exaggeration of a certain sinister aesthetic, and a push toward a certain dream like quality. Narrative remains, but with a bastardized and disoriented aftereffect, which transforms it into another way of experiencing it. The spree killings of Billy Cook (portrayed in Lupina’s film by the actor William Talman, and renamed Emmett Myers) are looked at more as a moment in time that begins and ends with vague qualities much like a dream, or an experience of weather in Robert Musil’s The Man Without Qualities.
Across the Pacific drift five continents; there lie two lands that start with C: China and Colombia. In one I was born, in the other my grandmother. Her people, that run away of her lands to live without smiles; mine, once enslaved, sang to die smiling. Both of us learned to accept what belongs to neither here nor there—she, for crossing coasts for a husband who died; I, for being her grandson, bearing my grandfather’s name.
S. writes to Juan, who is deeply asleep. She reflects on images and cinema, and a piece of advice from a director she admires challenges her and all her previous work. Determined to find an idea behind the images she has recorded so far, S. wanders among materials, her own archive of images and sounds, internet browser tabs, western films and Japanese short stories. S. compiles all these thoughts and findings into a letter, hoping to deliver it to Juan when he wakes up.