GME News
Paul Clipson’s cinema is one of eternal recurrence. Subjects continually repeat themselves: bridges, buildings, fences, gratings, trains, airplanes, trees, suns, leaves, grass, eyes, power lines, and especially bodies of water. Clipson creates layered superimpositions of these objects through rewinding the camera and re-exposing the film stock from another iteration of the subject.
Read MoreGME is pleased to announce a special free stream for the month of August of this musical with music, musicians, muses and fish… On a giant ferry, two mermaids (Tony Conrad and Genesis P-Orridge) play violin to attract the fish from the sea, when suddenly a giant fish with 30 dancers in its stomach lands on board.
Read MoreThe Utopian Avant-Garde: Soviet Film Posters of the 1920s explores the origins, high points, and eventual demise of this golden age of Soviet graphic design, a revolutionary, though doomed visual language that for a short time represented the explosion of dynamic, innovative filmmaking in the new Socialist society. Gartenberg Media distributes several of the milestone Soviet films which are well represented in this exhibition, including KINO-EYE (1924), BATTLESHIP POTEMKIN (1926), A SIXTH PART OF THE WORLD (1926), and TURKSIB (1929).
Read MoreHenri Storck (Ostend 1907 - Brussels 1999) lived through the whole history of cinema, passing from silent to sound, and from experimental to lyrical documentary. He is recognised as a pioneer of Belgian cinema and a key figure in documentary. An eyewitness of his times, he made socially engaged films, but also poetic and experimental short films, films on art and a fiction feature. His body of work consists of 70 films, including a series of accounts, presented on this Blue-ray/DVD edition, on his native city of Ostend of which he was the chronicler and which remained, for him, the Queen of beaches.
Read More1962 to 1964 was a pivotal moment in the evolution of American arts and culture, especially in New York City. These years, crucial to the development of Pop, Minimalism, and performance, saw the emergence of a new generation of radical artists, as well as venues that gave their iconoclastic work a home and a context. Movies, meanwhile, were undergoing a transformation of their own: the rise of a truly independent cinema, of works unencumbered by the medium’s aesthetic conventions and commercial imperatives.
Read MoreGartenberg Media confronts the heat with this “missing link of American independent cinema” that Richard Brody of The New Yorker calls a “tense, myth-drenched drama of liberation and retribution.”
Read MoreGME is pleased to announce the a special free stream for the month of July of this humorous glimpse at what happens every morning on the wavy sidewalks of Copacabana beach, as conceived by Vivian Ostrovsky, a citizen of the world who has made films in Brazil, France, Israel, Japan, the Soviet Union and the United States.
Read MoreNANOOK OF THE NORTH premiered 100 years ago at the Capitol Theater in New York City, on June 11 1922. The film’s unprecedented commercial success inspired a century of documentary filmmaking. On the centennial anniversary of NANOOK OF THE NORTH, The Flaherty invites viewers and scholars of the film to consider the complex legacy of NANOOK OF THE NORTH in settler-colonial as well as indigenous cultures.
Read MoreThis recent screening series (June 17-19) paid tribute to the work and legacy of Dore O., one of Germany’s most influential and pioneering experimental filmmakers, who tragically passed away in early March 2022. The series also marked the announcement of the publication “Figures of Absence. The Films of Dore O.” (ed. Masha Matzke), which will be released in English by archivebooks in late 2022.
Read MoreGERMAINE DULAC: CINEMATIC SENSATIONS AT THE HOUSE OF DREAMS presents nearly 30 films by Germaine Dulac, feminist, socialist and avant-garde pioneer of the 1920s. The two most famous, the impressionist LA SOURIANTE MADAME BEUDET (1923), with its heroine with modern tastes confined to a bourgeois marriage, and LA COQUILLE ET LE CLERGYMAN (1927), the first surrealist film in history, conceived as an essay on the rhythm, have durably transformed the cinematographic landscape.
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