Ellipse

A man and his dog are stranded on a volatile, oval-shaped planet and are forced to adapt and escape before time destroys them both.

A dream transmits across the galaxy, eliciting a mysterious response that collapses the distance between deep space, a young girl's imagination, the dead, and the living.

Leo is a successful author of mystery novels, who writes under the pseudonym Cameron Graves. While penning his next book in an isolated chalet, he receives a strange visit from Jota, a somewhat troubling character, who claims to be a journalist. No one is aware of Leo’s true identity and only Victoria, his agent, knows his whereabouts, so... How has Jota managed to track him down? What are his intentions? A dark secret linked to Adriana, his young lover, seems to be behind the mysterious visit. Lies, betrayal, threats and death will be the order of the day as the two characters go head to head in a merciless duel.

Kira Georgievna is a famous sculptor. She has a loving husband, friends, and fans. She seems quite happy. But one day the past breaks into Kira's well-adjusted life: Vadim, her first husband, appears. In '37, he was repressed and spent 20 years in camps.

A film about ...

Imogen Heap decamps to Maui, Hawaii in spring 2007 to start writing her third solo album. With only a video camera for company, she begins documenting its progress and doesn't stop until she's collected a Grammy Award for it. Aided by friend and film maker Justine Pearsall, every moment in the life cycle of the album is captured. From the writing trip; to her return to her family home to build a state of the art studio in her childhood playroom; to the songs themselves, their origins and journey to completion, This is an intimate and comprehensive portrait of the album and the artist. Including interviews with the people who know her best and appearances by Jeff Beck, Nitin Sawhney and Mika, Everything In-Between is part making of, part intimate diary confessional. A rare and inspiring insight into the life and work of a unique and exceptional artist and the creation of an acclaimed album. Filmed over three years and compiled from 374 hours of footage.

Pierre Huyghe’s video installation consists of an extended panoramic screen bearing three projections shown in sequence from left to right. The left and right ends of the screen are clips from Wim Wenders’s 1977 film, The American Friend. The center screen displays an episode using the film’s original actor, Bruno Ganz, but created by Huyghe years later. This insertion is an ellipsis, a "fill" in a cinematic time gap, that connects the two original scenes to form one continuous real-time sequence. Huyghe’s intervention forms a juncture where art and life, fiction and reality, and past and present intersect.

From one film to another, it's true that I often use the same images, to remind people, to create a universe, to show that my work basically constitutes a single work. I can also, like here, deepen a procedure used much earlier, in this case in Un film brûlé (1984). I had torn and shifted the images relative to each other (thus creating a long crack) which I had then not been able to shoot, the film being limited to a soundtrack ever since. Here, it is a question of creating in all possible ways holes and ellipses of images then of stitching these views together in an aesthetic mode in a joyous end-of-the-century apocalypse, of positives, negatives, 16mm, Super- 8, 8mm, black and white, color, enhanced, faded, but still found footage...

Noise, static, channel change...

M., a right wing priest, discovers through three key meetings - with the army, a bourgeois family and a "third-worldist" priest - that your ideology is out of time.

In 1998, Brakhage completed the five reels of Ellipses.

This work is in five reels (numbered, but called "reels" so that they don't take on the connotations of "Parts" - thus each simply a part of the "trail" of colored scratches, white scratches ((on black & white leader) which suggest, to me, a passage). The third "reel" combines these scratches with some motion picture film, mostly of the ocean. The fifth reel is the only one which has a sound track; but of course that makes the whole work a "SOUND film" because the audio track must be turned-on from the beginning.

Reel #5 of (...) is composed of scratch-imagery edited to music by James Tenney. The music starts accompanied only by black leader: then there is a sudden flare of pure white which begins to flicker with negative-colored ephemeral shapes, until finally the music and a fulsome mass of scratched images are accompanying each other. At times a distinctly different quality of colored image appears and continues for awhile (non-orange negative photography of painted film as well as picture images).

This work is in five reels (numbered, but called "reels" so that they don't take on the connotations of "Parts" - thus each simply a part of the "trail" of colored scratches, white scratches ((on black & white leader) which suggest, to me, a passage). The third "reel" combines these scratches with some motion picture film, mostly of the ocean. The fifth reel is the only one which has a sound track; but of course that makes the whole work a "SOUND film" because the audio track must be turned-on from the beginning.

This work is in five reels (numbered, but called "reels" so that they don't take on the connotations of "Parts" - thus each simply a part of the "trail" of colored scratches, white scratches ((on black & white leader) which suggest, to me, a passage). The third "reel" combines these scratches with some motion picture film, mostly of the ocean. The fifth reel is the only one which has a sound track; but of course that makes the whole work a "SOUND film" because the audio track must be turned-on from the beginning.