An authoritative voice-over pre-empts the events in the image, seeming to order not only the people, cars, and moving objects on the screen but also the actual camera movements on the street in view. John Smith draws attention to how controlling and directional the practice of voice-over actually is.
The endearing observation Spaghetti Aza paints not only the portrait of a sleepy boy but also, indirectly, of two doting parents. A one-minute home movie by Ken Jacobs, a pioneer of the American avant-garde film of the 1960s and ’70s.
Immersed in the community of artists and local residents on the island, Nicola L. approached Ibiza as a living landscape, shaped by mythology and shared experiences. In Les têtes d’Ibiza, fiction and documentary flow seamlessly into one another.
A series of cameo portraits of Barbara Hammer’s friends and lovers intercut with a playful celebration of fruits and vegetables in nature. The culminating footage evokes a tantric painting of sustained sexuality.
