“VOYEURISTIC TENDENCIES is not so much a film about voyeurism as it is about our tendency to be voyeuristic. That tendency, nurtured by the filmmaker’s carefully crafted succession of visual teases and exploited by the camera’s ability to become our eyes, becomes increasingly evident as the film progresses. The camera teases the viewer, in this case, co-voyeur, not with sexual or erotic innuendo, but rather with graphic and aesthetic challenges. The partially opened window of a woman’s dressing room forces us to realize our urge to see more. That urge comes not so much from a longing for exposed breasts, but as a need to make the picture whole, and to know more about these hidden worlds. This type of cinematically-induced self-realization makes VOYEURISTIC TENDENCIES a powerfully human film.
“Most of the people we view appear to be merely going through the motions. Their actions seem hauntingly void of emotion or thought. By temporarily becoming voyeurs, we were hoping for bigger and better things, e.g., passion … melodrama, but are left with only a secretary nervously tapping her nails.” – Roger Nieboer
“[A] perfect sex film for the ‘80s. We are teased, cajoled, lured and finally snubbed as we learn one possible answer to what has happened to sex; it has been subsumed in our society’s current confusion between artifice and reality.” —James Irwin
Since the 1960s, the American filmmaker, theorist, and avant-garde activist Dominic Angerame has been working in a form that is both documentary and poetic, an aesthetic alliance between realism and fantasy. He employs a variety of techniques, but his films are invariably and primarily concerned with basic problems of rhythm: the nervousness of the montage in almost all Angerame films stands in startling contrast to the gentleness of its effect on the viewer. The double and triple exposures this artist prizes so much brake, as it were, the quick pulse of his cuts and help them to achieve a peculiarly delicate quality.
Dominic Angerame’s works search for unfamiliar views of seemingly familiar things: cities, landscapes, faces, and bodies. The filmmaker’s desire to make everyday images “strange” at the editing table, to learn to see them fresh and to estrange them from our senses, makes his films seem—in all the different social realities they contain—always distanced as well… read more
Interesting take on not only voyeurism, for are we not all voyeuristic in some ways, but also on exhibitionism. In watching an open window or partially open one does one not become consumed with filling in the stories and the images one sees; just like the movies. A product of its times set to songs from the Eurythmics 1983 major label debut.