Tag Archives: underground

Seizure: A Magnificent Cry for Art by David Vaipan

by Cimaxion | 1 Comment

At the start, I’ll say that this is one of the most magnificent films I have seen in years. David Vaipan has made this relentless and fully-committed scream of artistic intent, desire, confusion, effort and love. This is a film about being an artist. It is a film about fear and confidence. About effort, will and failure. Vaipan simply takes the entire history of art and all that it has given him and dumps it out on his desk and turns it all into his own material. All of art, music, film, literature and poetry become Vaipan’s crayons and he uses them to tell his own personal story.

The film bombards with imagery. Just gaze in wonder at the crayon animated memoir that’s presented like a little puppet theater show. It moves from birth to boarding schools to Wall Street and beyond with effortless skill. The drawings are amazing and funny. Just when you think you’ve seen plenty Vaipan moves into a stick figure run through the history of art and it just keeps coming at you. He cuts and chops and mixes and slides and just keeps streaming the grandeur of art at us like a force of nature. He’s completely lost inside the world of inspiration. He sees the fear of getting lost in the pile – the fear of being ignored – and he literally revels in the fear itself. He makes the fear seem like something to seek. This is a grand and important statement from someone who I think is a young artist. The tools of his trade are digital and he uses them freely with a wild eagerness to explore that is extremely difficult to maintain. The unabashed use of video effects and computer equipment as if they are the oil paints and charcoals inside a painter’s box is one of the hallmarks of the emerging American video art movement. I can see the influence of Ryan Trecartin’s work in this. There’s a familiarity with digital layers that is of primary significance in this recent art. There’s a hard-edged willingness to allow the digital processes to show through. It’s sort of a freedom with the computer and video that means one doesn’t have to make anything necessarily look the right way or look like something it isn’t.

You have to really watch this film very closely and try to catch the pieces of the roaring mass of art thrown at you. Even the ending credits are a complete statement in themselves with the director drunkenly singing the Rolling Stones’ ‘Sympathy For the Devil’ in the background.

So many people are part of this film. Kenneth Anger, Stan Brakhage, Jean Luc Godard, Maya Deren, Luis Bunuel, Stanley Kubrick, David Foster Wallace, Michael Snow, Agnes Varda, to name but a few.

I know that the intertitles and other things flash by too quickly to grasp and maybe that intimates something about the info-age and attention spans, it’s why your lord Hiesos Kristos, magician of the beautiful, invented the pause button and that’s also why the real Creator (one D. Vaipan) put this on the internet rather than wherever, because you have control.

See? That’s one of the little treasure waiting for you in the end credits of this gigantic and raving epileptic fit of a film that should ultimately bring you close to tears and make you want to explode in all directions and actually truly and finally… make something!

Here is the artist’s web site.

Short Film: Attackazoids!

by Cimaxion | 1 Comment

Here’s a wild underground science fiction short produced by a company called Robot Hand. This fun and narratively loose assault on the alien invasion/mechanical overlord genre was directed by Brian Lonano and uses old-style lo-fi analog techniques for its special effects. The apparently concerned and helpful robots seem intent on wiping out every last vestige of life on the planet. Maybe they come from Wall Street!

Bad Lit: The Journal of Underground Film has posted more about the filmmakers and festivals showing their work.

The Resurrection Movie: A Film Trailer by Michel Montecrossa

by Cimaxion | 1 Comment

MATURE CONTENT AND NUDITY:

This is Michel Montecrossa’s peace and climate change musical. It tells a great passion story which is the love-tale of cyberrocker-astronaut Starlight and his mate Earthpower and how they change hellish mega city planet through their music into a free world. It’s full of rock & roll, motorcycles, leather jackets, keyboards, cowboy hats, sex drawings, mirror sunglasses, hip rocker women, New Age and science fiction. I don’t know who these people are, but they sure do look fun and they have some kind of wild movie going on here.  It features the poetry of Walt Whitman, Ezra Pound and William Wordsworth!  My general take on it is that the film is a cry for individual expression and freedom in a time of unending war and conflict managed by the forces of homogenous corporate control.  Director Michel Montecrossa is described as a ‘prolific songwriter, orchestral composer, painter, writer, moviemaker, futurist architect and cyberartist.’  Wild people like this should make more films.

Digital Underground in the People’s Republic of China

by Cimaxion | 2 Comments

Rachel Tejada shot and edited this film about independent and underground film in China. It was produced by dGenerate Films.  It’s in six short parts and covers the basics of independent film festivals and efforts to make films that will somehow survive the oversight of the repressive government.  I post this out of a measured interest, but I cannot overlook the depressingly passive sadness of everyone who so much as glances into the camera.  They consistently refer to themselves as independent filmmakers or underground filmmakers.  Underground they may be out of necessity, but they are most certainly not independent.  They are comfortably passive and have an absolute zero level of confrontation or rebellion in them.

I cannot muster significant respect for billions of people who want to express themselves and flourish but do not ever make the decision to pick up their totalitarian government leaders and drown them in the sea.  You can talk to me until you are blue in the face about your independent cinema, but until your cameras shoot something I’m not listening.

Parts 2 – 6 after the jump

Continue reading …

Knout – a Film by Deco Dawson

by Cimaxion

I found the work of filmmaker Deco Dawson via Mike Everleth at Bad Lit: The Journal of Underground Film. This is one of the films Dawson has on his Vimeo page and it’s a brutal but gorgeous piece that suggests the violence one can commit against one’s self.

The film is all gnarled and fuzzy and stained. It looks like something shot in the twenties and dug up in a basement somewhere. Right around the 8:15 mark there’s a sequence of images that are just simply stunning. The actress, Jenovia Tretiak, is frenzied and beautifully insane. The original score by Patric Caird is perfect and hair-raising.

Thinking About Underground Film – Part 1

by Cimaxion

If you live in Los Angeles you’ve probably seen it many times: the caravan of white trucks parked along the block and around the corner, diesel generators roaring, cables strung along the gutters, piles of lights, rolls of cables, racks of costumes, makeup trailers, bored extras, bored crew members, bored motorcycle police, and fascinated passersby.

That’s all you need to see to know that something mainstream – feature film, TV show, or commercial – is being made.

But what’s an underground film?

Bad Lit, my favorite site devoted to underground film, has an article about the problem of defining something as slippery as ‘underground film’ in which several definitions are offered by different people. Mike Everleth, the site’s editor, defines underground film this way:

Essentially, I believe it is a film that is a personal statement by one person and a film that dissents radically in form, or in technique, or in content, or perhaps in all three. However, that dissension can take on any number of forms.

I agree with that, but would add the requirement of hostility. There should be an element of combativeness which attempts to counter a much larger established force.  There must be some rebellion in the work.  It can be very subtle – nearly imperceptible – but it’s usually there somewhere.  In fact, I think the hostility should even tend to include the general culture surrounding the filmmaker/s.  Dissent, by itself, can be rather subdued, soft-spoken and shy.  I think underground film requires a willingness not only to dissent but to kick apart.

While thinking about all this mainstream versus underground stuff, I went searching around on YouTube for something that might fit the discussion.  I found this peculiar British documentary film about filmmaker Donald Cammell who co-directed, along with Nicolas Roeg, the 1968 film Performance. The film is one of those odd mixtures of underground and mainstream.  It features Mick Jagger and involves a lot of mind-bending drugs, sex and criminal underworld shenanigans.  It’s actually impossible to forget once you have seen it.

This film contains adult subject matter, language, nudity and sexual situations.

Part 2
Part 3
Part 4
Part 5
Part 6
Part 7

The documentary, Donald Cammell: The Ultimate Performance, describes a time when a group of intensely creative artists from various disciplines could operate on the fringes of the mainstream to create an essentially underground film with something resembling support from a mainstream production company. It’s a scenario that does not exist today. If you watch all 7 parts of the film, you will be immersed in that strange hybrid world of the ‘popular underground’ that defines much of what was happening in the 1960s and 70s. Today, if it cannot be jammed into a mall and sold with Sour Patch Kids, it won’t get any money.  That holds as true for ‘independent’ films as it does for summer blockbusters.

Watching this documentary makes me wonder why so many filmmakers seem to have such trouble making the films they really want to make.  After all, one can purchase a cheap camera and make exactly what one wants regardless of what one’s career and money-earning responsibilities might be. Tormented filmmakers who are battling studois for creative freedom should simply make films with video cameras during their spare time. This would not only foster a healthy underground, but it would quite possibly prevent a few tragic endings.