Babette Mangolte

Delphine Seyrig decided to work on a film project about Calamity Jane to reveal Jane’s sensibility and insight about life in those letters to her daughter. The reading of those letters permits a self-reflection about feminism and motherhood.

Delphine Seyrig decided to work on a film project about Calamity Jane to reveal Jane’s sensibility and insight about life in those letters to her daughter. The reading of those letters permits a self-reflection about feminism and motherhood.

Delphine Seyrig decided to work on a film project about Calamity Jane to reveal Jane’s sensibility and insight about life in those letters to her daughter. The reading of those letters permits a self-reflection about feminism and motherhood.

"The film Je, Nous, I or Eye, Us is a mini essay that replies to a question about subjectivity in the 1970s while I was making my film 'The Camera Je, La Camera: I' about taking photographs. The new film from 2014 uses footage shot at the time of The Camera: Je but never used in 1976 and 1977 and adds to the 16mm film a series of titles about a photographer’s subjectivity then and now." (Babette Mangolte)

For Seven Easy Pieces Marina Abramovic reenacted five seminal performance works by her peers, dating from the 1960's and 70's, and two of her own, interpreting them as one would a musical score. The project confronted the fact that little documentation exists from this critical early period and one often has to rely upon testimony from witnesses or photographs that show only portions of any given performance. The seven works were performed for seven hours each, over the course of seven consecutive days, November 9 –15, 2005 at the Guggenheim Museum, in New York City. Seven Easy Pieces examines the possibilities of representing and preserving an art form that is, by nature, ephemeral.

For Seven Easy Pieces Marina Abramovic reenacted five seminal performance works by her peers, dating from the 1960's and 70's, and two of her own, interpreting them as one would a musical score. The project confronted the fact that little documentation exists from this critical early period and one often has to rely upon testimony from witnesses or photographs that show only portions of any given performance. The seven works were performed for seven hours each, over the course of seven consecutive days, November 9 –15, 2005 at the Guggenheim Museum, in New York City. Seven Easy Pieces examines the possibilities of representing and preserving an art form that is, by nature, ephemeral.

For Seven Easy Pieces Marina Abramovic reenacted five seminal performance works by her peers, dating from the 1960's and 70's, and two of her own, interpreting them as one would a musical score. The project confronted the fact that little documentation exists from this critical early period and one often has to rely upon testimony from witnesses or photographs that show only portions of any given performance. The seven works were performed for seven hours each, over the course of seven consecutive days, November 9 –15, 2005 at the Guggenheim Museum, in New York City. Seven Easy Pieces examines the possibilities of representing and preserving an art form that is, by nature, ephemeral.

"To begin with, we have Babette Mangolte, the camera technician on Hotel Monterey, La Chambre and Jeanne Dielman, but who for me also symbolises the New York years, she introduced me into the very core of what was new, even revolutionary, in New York, and our interview is about the city of New York in the early 70s." – Chantal Akerman

Two women meet at a crossroads... A chance encounter between two women struggling to stay afloat, in an era of the downsizing of dreams. Ross Lipman's one fiction film to date comes from a genre even more rare in the US than experimental work-adult drama. Printed in muted tones that conjure silent film hand-painting, and merging theater-based naturalism with an elliptical psychological encounter, "The Interview" at once utilizes and destroys mainstream narrative expectations.

A documentary that follows up on what happened to the three principle actors in Robert Bresson's "Pickpocket."

A documentary that follows up on what happened to the three principle actors in Robert Bresson's "Pickpocket."

A documentary that follows up on what happened to the three principle actors in Robert Bresson's "Pickpocket."

The film is a reconstitution of the seminal performance work done in the early Sixties by the sculptor Robert Morris.

The above narrative, by Simone Weil, the French philosopher and mystic, was written into her last notebook. The places filmed show where she lived and worked during that time. It was 1942-43.

Jean-Pierre Gorin examines the lives and cultural background of Samoan street gangs in Long Beach, California.

Two women are in search of a home in the Southern California landscape. From the outside looking in, they see the single-family home as the locus of the exclusion of the other. It is also unaffordable. They both feel as if they are invisible citizens. They witness how the architectural landscape imposed on the California desert appears as a reversal of nature, where exclusive living, gated communities and segregation go hand in hand. They dream of escape.

Two women are in search of a home in the Southern California landscape. From the outside looking in, they see the single-family home as the locus of the exclusion of the other. It is also unaffordable. They both feel as if they are invisible citizens. They witness how the architectural landscape imposed on the California desert appears as a reversal of nature, where exclusive living, gated communities and segregation go hand in hand. They dream of escape.

Chantal Akerman followed famous Choreographer Pina Bausch and her company of dancers, The Tanzteater Wuppertal, for five weeks while they were on tour in Germany, Italy and France. Her objective was to capture Pina Bausch's unparalleled art not only on stage by behind the scenes.

Considered one of Canada's most important women artists of the second half of the 20th century, Joyce Wieland's art embodies the essence of her homeland, feminism, and ecology. Artist on Fire: Joyce Wieland captures the vibrant spirit of this painter, collagist, quilt maker, and filmmaker. In the early '70s, Wieland was involved in filmmaking, producing movies with a political message. In her 30-year career, she worked in a variety of mediums, including cloth, pastels, colored pencil, oils, bronze, and watercolor. Her works and her influence are examined in this detailed video portrait.

Jean-Pierre Gorin interacts with a club of model railroad train enthusiasts and his mentor, artist/writer Manny Farber.

Jean-Pierre Gorin interacts with a club of model railroad train enthusiasts and his mentor, artist/writer Manny Farber.

A comedy about New York and its eccentric inhabitants. A french filmmaker comes to New york to show her film at MOMA. Fascinated by the city, she decides to stay.

A personal meditation on the landscape of the American West that tracks the ruling conception in nature in the 19th and 20th centuries from the pioneers through the instamatic tourists, at the same time that it obsessively follows the four seasons. The elemental vicissitudes of the weather, the exact moment of the day, the colour of the light and the soil and the trees form an acute visual record of the constantly changing mood of the landscape. The film successfully attempts, with quiet, passionate, almost single-minded firmness, to confront us as nakedly as possible with our cultural inability to see nature whole, without preconceptions.

A personal meditation on the landscape of the American West that tracks the ruling conception in nature in the 19th and 20th centuries from the pioneers through the instamatic tourists, at the same time that it obsessively follows the four seasons. The elemental vicissitudes of the weather, the exact moment of the day, the colour of the light and the soil and the trees form an acute visual record of the constantly changing mood of the landscape. The film successfully attempts, with quiet, passionate, almost single-minded firmness, to confront us as nakedly as possible with our cultural inability to see nature whole, without preconceptions.

A personal meditation on the landscape of the American West that tracks the ruling conception in nature in the 19th and 20th centuries from the pioneers through the instamatic tourists, at the same time that it obsessively follows the four seasons. The elemental vicissitudes of the weather, the exact moment of the day, the colour of the light and the soil and the trees form an acute visual record of the constantly changing mood of the landscape. The film successfully attempts, with quiet, passionate, almost single-minded firmness, to confront us as nakedly as possible with our cultural inability to see nature whole, without preconceptions.

A personal meditation on the landscape of the American West that tracks the ruling conception in nature in the 19th and 20th centuries from the pioneers through the instamatic tourists, at the same time that it obsessively follows the four seasons. The elemental vicissitudes of the weather, the exact moment of the day, the colour of the light and the soil and the trees form an acute visual record of the constantly changing mood of the landscape. The film successfully attempts, with quiet, passionate, almost single-minded firmness, to confront us as nakedly as possible with our cultural inability to see nature whole, without preconceptions.

A personal meditation on the landscape of the American West that tracks the ruling conception in nature in the 19th and 20th centuries from the pioneers through the instamatic tourists, at the same time that it obsessively follows the four seasons. The elemental vicissitudes of the weather, the exact moment of the day, the colour of the light and the soil and the trees form an acute visual record of the constantly changing mood of the landscape. The film successfully attempts, with quiet, passionate, almost single-minded firmness, to confront us as nakedly as possible with our cultural inability to see nature whole, without preconceptions.

전산 업무를 담당하는 은행원 셀레스트는 돈과 권력의 상관 관계에 매료되어있다. 한편 베일에 감춰진 스타 배우인 루비는 어린 시절의 기억을 되짚어가며 자신의 진짜 정체를 찾아 헤맨다. 두 사람의 인생이 교차되면서, 경제적 주도권을 쥐기 위해 고군분투하는 남성과 신비롭고 아름답지만 무기력한 모습의 이상적 여성상 사이에 연관 관계가 있음을 깨닫게 된다. 샐리 포터의 감독 데뷔작 는 80년대 초 페미니즘 영화를 대표하는 작품이다. 촬영감독 바베트 마골트와 음악감독 린제이 쿠퍼를 포함하여 영화를 만든 모든 스태프가 여성이었을 뿐만 아니라 혁신적이고 실험적인 내러티브 구조를 도입했다는 점에서 주목할 만하다. (2017년 제19회 서울국제여성영화제)

Adaptation of an avant-garde play about Rhoda, a hysterical heroine who feels oppressed by the people around her. She suffers through her birthday party, goes to see a doctor, plans a vacation, argues a lot and even breaks the fourth wall.

Autobiographical film about Loulou (Jackie Raynal) who seeks a job as an editor on Broadway, shares a loft in Soho and marries an entrepreneur.

A “narrative” film centered on young artists living in New York City around 1979. The film is about a certain stage in the development of a young artist confronting the real world in terms of her own idealistic notions of what art is supposed to do. You never see her. She is the camera’s eye and when someone says to the camera “My darling be careful”, it could be addressing her or you the spectator. The subjective camera set-up challenges your position as an impartial observer. - BM

A “narrative” film centered on young artists living in New York City around 1979. The film is about a certain stage in the development of a young artist confronting the real world in terms of her own idealistic notions of what art is supposed to do. You never see her. She is the camera’s eye and when someone says to the camera “My darling be careful”, it could be addressing her or you the spectator. The subjective camera set-up challenges your position as an impartial observer. - BM

A “narrative” film centered on young artists living in New York City around 1979. The film is about a certain stage in the development of a young artist confronting the real world in terms of her own idealistic notions of what art is supposed to do. You never see her. She is the camera’s eye and when someone says to the camera “My darling be careful”, it could be addressing her or you the spectator. The subjective camera set-up challenges your position as an impartial observer. - BM

A “narrative” film centered on young artists living in New York City around 1979. The film is about a certain stage in the development of a young artist confronting the real world in terms of her own idealistic notions of what art is supposed to do. You never see her. She is the camera’s eye and when someone says to the camera “My darling be careful”, it could be addressing her or you the spectator. The subjective camera set-up challenges your position as an impartial observer. - BM

A “narrative” film centered on young artists living in New York City around 1979. The film is about a certain stage in the development of a young artist confronting the real world in terms of her own idealistic notions of what art is supposed to do. You never see her. She is the camera’s eye and when someone says to the camera “My darling be careful”, it could be addressing her or you the spectator. The subjective camera set-up challenges your position as an impartial observer. - BM

A naive look at Southern California by an outsider, and/or an essay on displacement through the disjunction of Californian images and off screen voices. Where is the location of these voices, here or there? Are the images near or far in relation to the voices? Are the images commenting on the images or vice versa?

A naive look at Southern California by an outsider, and/or an essay on displacement through the disjunction of Californian images and off screen voices. Where is the location of these voices, here or there? Are the images near or far in relation to the voices? Are the images commenting on the images or vice versa?

This key work of the late 1970s, now digitally restored, is a unique attempt to combine contemporary debates around formalism, feminism and psychoanalysis in film. Implicitly engaged in a critical dialogue with filmmakers like Yvonne Rainer and Jean-Luc Godard, as well as the theorists of 'Screen' magazine, Sigmund Freud's Dora is a milestone in the evolution of structuralist film strategies into broader questions of representation.

Reel 4 of Gérard Courant's on-going Cinematon series.

Cinématon is a 156-hour long experimental film by French director Gérard Courant. It was the longest film ever released until 2011. Composed over 36 years from 1978 until 2006, it consists of a series of over 2,821 silent vignettes (cinématons), each 3 minutes and 25 seconds long, of various celebrities, artists, journalists and friends of the director, each doing whatever they want for the allotted time. Subjects of the film include directors Barbet Schroeder, Nagisa Oshima, Volker Schlöndorff, Ken Loach, Benjamin Cuq, Youssef Chahine, Wim Wenders, Joseph Losey, Jean-Luc Godard, Samuel Fuller and Terry Gilliam, chess grandmaster Joël Lautier, and actors Roberto Benigni, Stéphane Audran, Julie Delpy and Lesley Chatterley. Gilliam is featured eating a 100-franc note, while Fuller smokes a cigar. Courant's favourite subject was a 7-month-old baby. The film was screened in its then-entirety in Avignon in November 2009 and was screened in Redondo Beach, CA on April 9, 2010.

A filmed record of a solo performance by American postmodern dancer and choreographer Trisha Brown. In order to better understand the dance, Mangolte learned to perform it herself. Mangolte shot Brown as she performed the solo twice, and then on the third take she decided to film in slow motion: "I shot slow motion, knowing that it would reveal the dance and the movement in a totally different context... the slow motion version permits a second look at the choreography, and the spectators can marvel at what they remember and also what they missed the first time around."

샹탈 아커만은 1971년에서 1973년 까지 뉴욕에서 지냈다. 아커만은 뉴욕의 다양한 풍경을 차분하게 기록하고, 이 영상 위로 어머니에게 받은 편지를 읽는다.

A subjective account of the act of making still photographs.

A subjective account of the act of making still photographs.

A subjective account of the act of making still photographs.

A subjective account of the act of making still photographs.

Kristina, a self-named Hungarian female lion tamer, arrives in New York to become a dance choreographer. Kristina, now a middle-class NYC artist concerned about the environment, has a sailor lover named Raoul. The film, a collage work, an essay film, a fictional narrative and a documentary all rolled into one, is one of the most important independent American feminists films made during the 1970's.

With Linda Patton and James Barth Silent, (24 frames per second) A linear succession of activities/manipulations of objects. Film = Now Projected Film = (Now)

With Linda Patton and James Barth Silent, (24 frames per second) A linear succession of activities/manipulations of objects. Film = Now Projected Film = (Now)

잔느는 어린 아들을 키우며 집에서 매춘하는 젊은 가정주부이다. 그러나 한 손님의 방문과 함께 잔느의 일상은 기이하게 무너지고, 그녀는 실수를 하기 시작한다. 마침내 그녀는 손님을 찔러 죽이고 거실 탁자로 쉬러 가는데...

The film is about looking. I bet that slight variations of few recurrent elements would encourage the viewer to free associate and to fantasize a kind of narrative. - BM

Time: the 1970’s. Place: New York City. This dramatized essay explores how women feel about verbal harassment by men on the street. What do they think? What do they want to do?

During the filming of "Jeanne Dielman" Sami Frey recorded what was happening on the set. A film about a film in the making.

Rainer’s landmark film is a meditation on ambivalence that plays with cliché and the conventions of soap opera while telling the story of a woman whose sexual dissatisfaction masks an enormous anger.

Rainer’s landmark film is a meditation on ambivalence that plays with cliché and the conventions of soap opera while telling the story of a woman whose sexual dissatisfaction masks an enormous anger.

Described (rather cheekily) by director Michael Snow as a musical comedy, this deft probing of sound/image relationships is one of his wittiest, most entertaining and philosophically stimulating films. In his words, the film “derives its form and the nature of its possible effects from its being built from the inside, as it were, with the actual units of such a film, i.e. the frame and the recorded syllable. Thus its ‘dramatic’ element derives not only from a representation of what may involve us generally in life but from considerations of the nature of recorded speech in relation to moving light-images of people.’”

Described (rather cheekily) by director Michael Snow as a musical comedy, this deft probing of sound/image relationships is one of his wittiest, most entertaining and philosophically stimulating films. In his words, the film “derives its form and the nature of its possible effects from its being built from the inside, as it were, with the actual units of such a film, i.e. the frame and the recorded syllable. Thus its ‘dramatic’ element derives not only from a representation of what may involve us generally in life but from considerations of the nature of recorded speech in relation to moving light-images of people.’”

Hotel Monterey is a cheap hotel in New York reserved for the outcasts of American society. Chantal Akerman invites viewers to visit this unusual place as well as the people who live there, from the reception up to the last story.

An unfinished Chantal Akerman film about the troubled youths and drug addicts going through rehabilitation in Yonkers, New York.

Choreographed by american choreographer, Lucinda Childs, the film explores complex patterns that are created with the simple action of walking

천천히 움직이는 카메라의 시선이 누군가의 방을 느리게 훑는다. 그리고 작은 변화가 일어난다.

이 작품은 두 여인 사이에서 딜레마에 빠져 있는, 그리고 그녀들을 고통스럽게 만드는 한 남자를 관찰하고 있다. 이 작품은 원래 이본느 라이너의 무용 퍼포먼스의 한 부분이기도 하다.

이 작품은 두 여인 사이에서 딜레마에 빠져 있는, 그리고 그녀들을 고통스럽게 만드는 한 남자를 관찰하고 있다. 이 작품은 원래 이본느 라이너의 무용 퍼포먼스의 한 부분이기도 하다.

While working on a documentary about the city of Bruges, an artistically frustrated filmmaker must deal with the increasing difficulties in his marriage.

작품 생산의 주체와 대상에 대해 묻는 질문에 대해 마르셀 아눙은 거창한 방식으로 대답하지 않는다. 일련의 드라마틱한 행위를 보여주는 것과는 달리 그는 "여름"에서 젊고 아름다운 주인공의 삶의 순간들 사이에 초점을 맞춘다. 그는 파편화된 장면, 재구성한 이미지와 문, 창, 활인화로서 거울과 같은 프레임들을 다루고 이 모든 것은 드라마와 캐릭터의 발전이 부재한 곳에서 반복적 행동의 일종의 카탈로그로 관객과 마주한다. 순수한 진부함으로 특징지어지는 이러한 순간들은 결국 실재 대상을 이야기의 균열로 빠져들게 한다. 이야기의 서스펜스나 절정에 기여하지도 극적으로 진행되지도 않기에 이런 모든 일련의 장면, 시퀀스, 이미지는 다른 어떤 감독들에게는 자르고, 제거하고, 삭제되어야 할 것이지만 바로 이렇게 확립된 거리감으로 인해 아눙은 자신의 영화의 핵심적 의미인 대립, 욕망과 실재 사이의 논쟁적 관계를 드러낼 수 있는 것이다. 이런 방식으로, 작품 생산의 주체와 대상에 대한 질문은 더 정확한 방식으로 재구성된다. 즉 자신이 바라는 바와 이러한 욕망을 충족시키기 위해 어떻게 실재를 변화시키고자 하는가 말이다.(나초 까지가)

Presents an intimate view of four decades of the Swiss-born artist Robert Frank who has had an extraordinary influence on contemporary photography and filmmaking. This documentary which examines his life through his films and photographs, includes interviews with many of his collaborators and contemporaries. Written, directed and edited by Philip Brookman, Amy Brookman