Archive for ‘Film’

February 2, 2012

.-.Black holes. Stars. Supernovas.

by Savvy

November 23, 2011


by Savvy

Portrait, On Roof

[vimeo 32066297]
November 12, 2011

Fran Lebowitz.

by Savvy

Fran Lebowitz. New York City vocalized. I like to think of her as Woody Allen’s nemesis.

From Public Speaking (2010), by Martin Scorsese. [A must see]

October 28, 2011

“Dance, dance, otherwise we are lost”.

by Savvy


I had been waiting since March for ‘pina’ to come to the big screen in the States and I was lucky enough to be in attendance at the NYFF showing of ‘pina’ in 3D, (next to Jim Jarmusch) complete with an intro and post Q&A session with wonderful director Wim Wenders. I was blown away and overwhelmed with emotion and inspiration. A sight not to be missed, for there is so much beauty in the combination of choreographies and locations. Not to mention the incredible Wuppertal hanging train.

“3D was made for dance” Wim said.

September 17, 2011

Manic Pixie Dream Girl.

by Savvy

Sorry, she’s not real. She is just a stock character.


March 16, 2011


by Savvy

The best excerpts from this amazing visual and acoustic experience;


‘decasia’, a film by Bill Morrison

February 19, 2011


by Savvy
May 6, 2010

A pinhole.

by Savvy

I have become interested in pinhole cameras. I watched my friend build a giant one around 5 years ago, but never looked into them.

When I was younger I owned (and still do) an old school standard film camera and a polaroid cam. My film camera takes fantastic pictures, albeit ‘standard’; no fancy options, no zoom, not very good at night. The polaroids didn’t fascinate me as much as I expected, apart from a few, (possibly because the machine was new) so I experimented with them, manipulated them, played with them. When I got my first digital camera I decided I didn’t much care for pixels and prefered film. When I got an upgrade a few years later, this resonated even more. More fancy options, more pixels. No atmosphere. Not unless I added some on photoshop. And even then, the atmosphere was digital. I prefer something I can touch, something more playful. A roll of film. Negatives. A polaroid I can rip apart while it develops and transfer it onto another surface. Years later, I got my first camera with manual film advance winding and discovered the amazingness of multiple exposures. Different coloured flashes. Naughty amouts of sunlight that creep into the internals and splash my film. Still, I was not yet completely satisfied. I then bought my first old camera [circa 1949-1961] in an antiques market in Rotterdam and I was not disappointed. The photographs taken ooze atmosphere, light and shadow.

I don’t care for new machines. I care for old things. Things that have been through time, that have signs of this, marks of history that appear. I am not a collector and I don’t want to be a collector. I don’t want to admire my findings from the outside of a glass cabinet. I want to use them.

Last summer I acquired an old 8mm cine camera [circa 1966-68] in an antiques shop in Prague. It was an experience in itself, perusing the 1x3m shop for 2 hours after which the owner, Martin, decided he liked us and my interest in his cameras enough to open up his favourite ones, let us have a play, and show us his camping photographs (ones he had taken with one of the cameras). Out he came from behind the curtain holding bunches of photos and wine glasses. He told us, as he refilled our glasses sometime later, that he’d bought this bottle in hope of sharing it with the beautiful new girl working in the bookshop next door.

We spent the only money we had left on this cine camera, on our way to the airport. Martin gave us a good deal. I have yet to find film for it but I am hoping it will be my most exciting camera experience yet. And will send Martin a souvenir.

But until that time comes…

I have a) been given an indefinite loan present of an old camera from my M. which belongs to his great-uncle.
And, to reiterate the first sentence of this entry, have b) become interested in pinhole cameras.

I have been inspired by this: or, rather, her:

© Katie Cooke

heyoka‘ has made a pinhole camera out of an old Christmas card box. Its results are beautiful, transient, moving pictures. Imperfect captures of a realistic image, but perfect scenes in time. The beauty lies between the perfect and imperfect, that is the true reality, with a touch of something different. There is no lens, no machinery, just honesty.

NB. See more of her photography work here. A little advertisement never hurt anyone.

Who needs a lens when you can make pictures with cardboard boxes, paper negatives or sheet film, and endlessly long exposures?
It’s all about slow light and the spaces between stillness. Except when it’s not

May 5, 2010

Do the robot dance.

by Savvy

Maria the Evil Hedonistic Robot, Metropolis

I would like to quote the description of this extract’s uploader:
Short clip from Fritz Lang’s Metropolis showing the forgotten art of arm dancing“.

I do love arm dancing.

May 5, 2010

Dystopia v 1.0.

by Savvy

Metropolis [Fritz Lang, 1927]

“Metropolis is a 1927 German expressionist film in the science-fiction genre directed by Fritz Lang. Produced in Germany during a stable period of the Weimar Republic, Metropolis is set in a futuristic urban dystopia and makes use of the science fiction context to explore a political theme of the day: the social crisis between workers and owners in capitalism.

The film is set in the massive, sprawling futuristic mega-city Metropolis, whose society is divided into two classes: one of planners and management, who live high above the Earth in luxurious skyscrapers, and one of workers, who live and toil underground”.

In essence, it is a old fashioned fairy tale set in a futuristic vision, of climaxing development and its imminent and unescapable downfall. To tie it all together, a saintly female figure, Maria, (referencing, no doubt, the Holy Mary) gives hope to the workers – the HANDS – with a naive idyllic resolution that a Mediator will come  – the HEART – and bring peaceful understanding between them and the rich capitalists – the MINDS.

Que the crazy star-crossed scientist who created a robotic version of his long lost love, who incidentally was married to the city’s creator, who then hires him to use his Frankenstein-esque laboratory machines to give the robot an alter-ego of Maria, in order to lead the Hands into temptation.

Maria’s Transformation

The film was written with Lang’s wife, Thea von Harbou. Despite their vision being well ahead of its time, Lang later expressed dissatisfaction with the film;

“The main thesis was Mrs. Von Harbou’s, but I am at least 50 percent responsible because I did it. I was not so politically minded in those days as I am now. You cannot make a social-conscious picture in which you say that the intermediary between the hand and the brain is the heart. I mean, that’s a fairy tale — definitely. But I was very interested in machines. Anyway, I didn’t like the picture — thought it was silly and stupid — then, when I saw the astronauts: what else are they but part of a machine? It’s very hard to talk about pictures— should I say now that I like Metropolis because something I have seen in my imagination comes true, when I detested it after it was finished?”

It is believed these reservations stemmed from the Nazi Party’s fascination with the film. His wife later became a passionate member of the Nazi Party and the two divorced the following year.

Perhaps Von Harbou condoned the separation between the Hands and the Minds; perhaps she believed the possibility of an intermediary only exists in fairy tales, perhaps she did not see shades of grey. Lang’s fascination as it were was with technology after all, not with the theme of slavery in isolation; what he maybe did not foresee was that technology would one day greatly abolish the Hands in such a metropolis, a future city where little by little machines with hand-like qualities would take over.

Brigitte Helm as Maria the Robot. As well as playing the two opposing sides to her character, Brigitte Helm also plays the robot – Lang wanted her to get in touch with all aspects of her character, one which is that of the machine.