GME presents key works published by RE:VOIR, a label that publishes and distributes classic and contemporary experimental cinema including films from the Dadaist, Surrealist and Letterist movements, films from the American avant-garde, diary films, arthouse features, animated works and hand-painted films.
Read More“Being located in the “antechamber of language, even of consciousness,” her newly restored films occupy a state of in-betweenness that cannot be easily interpreted nor approached verbally. Their associative stream of images and sounds acts as a deliberation on their sensuality. In a dream-like density and strange suspension of time, O.’s films induce a heightened sense of perception between hypnosis and clarity.”
Read MoreNew York filmmaker born in Paris, Marie Losier begins filming, with portraits of people she met in New York, documenting their lives from what she sees and what she feels after many years in theater and painting which had a great influence on her. Then she uses her imagination to represent these characters or situations as in a tableau vivant. Always with the materiality of the film which requires a certain way of working, her cinema develops a mystery, a magical moment.
Read MoreFollowing a series of films questioning commitment and politics in America and culminating with MILESTONES 1975, and a 1977 documentary on Lisbon’s Carnation Revolution, SCENES FROM THE CLASS STRUGGLE IN PORTUGAL, Robert Kramer moved to France with his family. The first film he made there was GUNS, an intricate feature which echoed the paranoid films of 1970’s Hollywood. With GUNS, Kramer continues his exploration of the militant psyche, while at the same time experimenting with different forms of narration.
Read More¨A living chronicle of the residents of the Béguinage neighborhood – so named because it is situated on the site of the former Brussels béguinage. Designed as an encyclopaedic inventory, the film comprises around thirty chapters, each imbricated with the other, like so many pieces of a puzzle, or resembling a termite mound with many intersecting galleries. It takes place within the space and interstices of a day, starting at dawn and ending at night.¨
-Boris Lehman
“HOTEL NEW YORK can be seen as a description of a fight; the fight of an immigrant with her new city and the fight of a filmmaker with her desire to make films within precarious boundaries. In Hotel New York Jackie Raynal plays and wins.”
-Cahiers du Cinéma
Read MoreIn the United States in 1966, Robert Kramer directed his first feature film, IN THE COUNTRY, outside all existing production systems and with the political fellow travelers who had just filmed him in the documentary TROUBLEMAKERS. IN THE COUNTRY shows what is left out of TROUBLEMAKERS: the documentary shows actions (community organizing, militant activism) that the fictional film keeps outside the frame in order to focus on a relationship crisis in which the man fails to put aside, for a few days, his obsessive political activism.
Read MoreTHE EDGE (1967) and ICE (1969) form a definitive diptych on the temptations of terrorism and insurrection: a man wants to assassinate the President of the United States (THE EDGE); revolutionary groups launch a major armed offensive against the ruling regime (ICE). However, both fictions are less interested in the impact of activism than in the moral state of shock that gradually shifts relationships and beliefs as it overlays another sense of time and other types of logic on those of revolutionary efficiency. Made in parallel with Robert Kramer’s own militant activism in Newsreel and other organizations of the American left, which they contradict dialectically, they are an extraordinary application of filmmaking considered as a tool of thought in motion.
Read MoreAdolfas and Jonas Mekas arrived in New York in 1949, leaving their native land, Lithuania, behind, caught between Nazi and Soviet occupation. Little by little the camera became their means of expression and cinema invaded their lives. 27 years passed before they could finally return to Lithuania. This is the odyssey the three films intertwiningly recall: Adolfas and Jonas Mekas and Pola Chapelle (Adolfas'ʼwife) are at once actor and filmer. The Mekas brothers rediscover their country and family with their changes, while Pola Chapelle is the external gaze embracing this reunion. Neither Lithuanian nor New Yorkers, where is their home now? As Jonas likes to say “My Country is Cinema.”
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