The term "The Weir-Falcon Saga" appeared to me, night after night, at the end of a series of dreams: I was "true" to the feeling, tho not the images, of those dreams in the editing of this and the following two films. The three films "go" very directly together, in the order of their making (as listed); yet each seems to be a clear film in itself. At this time, I tend to think they constitute a "Chapter No. 2" of The Book of Film I've had in mind these last five years (considering SCENES FROM UNDER CHILDHOOD as Chapter No. 1); and yet these "Weir-Falcon" films occur to me as distinct from any filmmaking I have done before. (Stan Brakhage)
A man awakes unaware of who he is. Through a series of flashbacks he gradually begins to remember his life, the woman he loves and a violent confrontation.
A young woman in a Seoul suburb finds herself captivated by the strange music of an old woman named Jo Hyeja, who is living in poverty upstairs from her.
A young man takes shelter from a storm in an old house inhabited by a strange older man. While examining an old book, the young man begins to wonder if this house and it's host are hiding a dark secret.
A young soldier seeks to impress his love at the local village dance before he is mobilised for war. But the waltz is not the only thing that Stanley has to learn.
In a small, US costal town with many Spanish speakers, a motorcycle gang arrives on holiday. Also in town to try to reconnect with his pregnant girlfriend, Karen, is businessman Paul Collier.
Follows contemporary American poet James Dickey on a three week lecture tour. Reveals the actual thoughts and feelings of the poet through his conversations and poetry readings.
