Lynsey Martin’s work includes the use of collage and its erasure, the grain of the photographic image and handpainting and drawing imagery directly on the film surface. Martin deals with the graphic and material elements of the filmstrip, the nature of filmic movement and the nature of photography in public space.
Across the installation's multiple channels, the camera circles a group of artists as they sit together in a field eating, licking, and squeezing ripe tomatoes.
The Lesbian Almanac is a Situationist calendar of dyke objects. This video features 12 paintings from the dyke community, examples of word play and literal interpretation through political claims and personal visions that become a lesbian collective unconscious.
Utilising an apparently new-found obsession with the colour red and reinvigorating some of the circular imagery of A Man and His Dog Out for Air and 69, Breer delves into the very basis of animation to explore how a variety of easily recognisable objects can be portrayed and manipulated differently using pixillation and classically drawn animation.
Paris, 1888. With the help of forensic medicine, a sensational criminal case is uncovered. The chief of the Paris Sûreté, Inspector Goron, with the help of Lyon University Professor Lacassagne, is able to solve a capital crime that seemed unsolvable according to the methods of forensic science at the time.
Sandro, a detective, finds his wife strangled. His girl-friend Tiffany, who works as photographer, makes a "Blow up" from a photo, what Sandro finds beside the victim.
Sam and Buddy, two highway robbers, join with Colonel Quint, a big crook, who sold his services to Morgan, the banker, in order to free Baby, the banker's daughter, abducted by Espartero and his killers gang.
Two rival street gangs from Kowloon go to war over turf and bar girls so as to dominate the area and maximize their takings; however things go from bad to worse as the girls start to get involved in the bloody feud.
In this film the director's recurring concerns return: the divisions in the Chilean left, and its contradictions between what the director calls the "traditional" and the "revolutionary" left.
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Have you watched Whitewash yet? What did you think about it?