An artist delivers a painting to his lover’s apartment. He unwraps the painting, shows it to her. A sudden dispute develops and the painter smashes the painting over the head of the woman’s husband. The painter exits, the wife/lover walks away. But SSHTOORRTY isn’t only the image of a staged event: the dialogue is in Farsi (with subtitles in English), the loop takes place 12 times, the image has been divided into two halves each superimposed (sound and picture) one on top of the other. —Torino Film Fest
Michael Snow is best known for his influential 1967 film Wavelength, which remains one of the landmarks of structuralist cinema. Already an accomplished musician, sculptor, painter, and photographer in his native Canada when he became interested in film after moving to New York in the early ‘60s, he saw filmmaking as a natural extension of his other artmaking activities. His first film, New York Eye and Ear Control, incorporated the “Walking Woman” figure he had already employed in a series of widely-exhibited paintings and sculptures.
His subsequent films investigate the medium’s formal possibilities and are often structured on the mechanical properties of the camera itself. Wavelength is organized around a 42-minute zoom across a New York City loft. His next film, Back and Forth, is built around continuous horizontal and vertical pans across a classroom. These experiments reached their logical extreme with La Région Centrale, for which he built a computer-controlled apparatus… read more