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Horse Fever (2021)

Gênero : Comédia, Drama, Ficção científica, Fantasia

Runtime : 12M

Director : Max Gallen
Escritor : Max Gallen

Sinopse

A young man finds himself questioning his sanity when his girlfriend calls him a horse.

Atores

Ryan Uc
Ryan Uc
Michael
Beau Gallacher-Hacken
Beau Gallacher-Hacken
Horseman
Ryan Uc
Ryan Uc
Stacy
Ryan Uc
Ryan Uc
Gonzo
Jack Morris
Jack Morris
Burglar #1
Max Gallen
Max Gallen
Burglar #2
Beau Gallacher-Hacken
Beau Gallacher-Hacken
Batman
Beau Gallacher-Hacken
Beau Gallacher-Hacken
Michael Cera

Tripulações

Jack Morris
Jack Morris
Hair Supervisor
Jack Morris
Jack Morris
Line Producer
Beau Gallacher-Hacken
Beau Gallacher-Hacken
Production Assistant
Noah Mendel
Noah Mendel
Production Assistant
Danny Morris
Danny Morris
Production Assistant
Max Gallen
Max Gallen
Executive Co-Producer
Jack Morris
Jack Morris
Executive Co-Producer
Max Gallen
Max Gallen
Producer
Max Gallen
Max Gallen
Editor
Max Gallen
Max Gallen
Screenplay
Max Gallen
Max Gallen
Visual Effects Editor
Max Gallen
Max Gallen
Cinematography
Max Gallen
Max Gallen
Director
John Morris
John Morris
Helping Hand
Mark Daniel Dunnett
Mark Daniel Dunnett
Helping Hand
Stephen Rollman
Stephen Rollman
Helping Hand
Cindy Peterson
Cindy Peterson
Helping Hand

semelhantes

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A collection of inserts from B-movies, edited according to a structuralist scheme. The latent meaning of purely functional film language released through isolation and interposition. Preserved by the Academy Film Archive in 2010.
Money
Experimental short 16mm film directed by Mike Henderson. Preserved by the Academy Film Archive in 2010.
Projection Instructions
Regrettably, the labour of projectionists is usually only considered by the audience when they ‘screw up’. This film offers an alternative opportunity. Preserved by the Academy Film Archive in 2014.
Documentary Footage
Naturalness willfully corrupted by inevitable self-consciousness, unwittingly corrupted by unavoidable naturalness, a role played with incredible nuance and complexity by Maurine Connor. Preserved by the Academy Film Archive in 2007.
Forbidden Symmetries
Three witnesses to the invasion. Three accounts. Are they observing the same thing? Were there any warning signs? And, after all they’ve seen and heard, are they even competent to offer a reliable report? The purpose of this film is to demonstrate that an effort to construct functions known not to exist may on occasion produce interesting frauds.
Ten Years In The Sun
An assortment of obscure private obsessions, conspiracies and perversions flicker on the verge of incoherence against the context of vast cosmic disaster in Rouzbeh Rashidi’s boldest film to date. This sensory onslaught combines a homage to the subversive humour of Luis Buñuel and Joao Cesar Monteiro with the visionary scope of a demented science fiction epic.
Phi Phenomenon
A static close-up of a clock. Preserved by the Academy Film Archive in 2007.
Kenneth Anger: Film as Magical Ritual
Anger discusses his Aleister Crowley-inspired theories of art: How he views his camera like a wand and how he casts his films, preferring to consider his actors, not human beings but as elemental spirits. In fact, he reveals that he goes so far as to use astrology when making these choices. This is as direct an explanation of Anger’s cinemagical modus operandi as I have ever heard him articulate anywhere. It’s a must see for anyone interested in his work and showcases the Magus of cinema at the very height of his artistic powers. Fascinating. (Dangerous Minds)
Only Human
A tale of people unfolds under the night sky. These doomed couples and lost individuals begin journeys and attempt to find resolution in their lives. Love is observed from a distance, sadness is in the air. With little sympathy for the loss and destruction caused to the characters, the stories progress and become neatly woven into a minimalistic portrayal of modern life.
Production Footage
"The cinematic mechanism cannot be completely deconstructed without resort to other means of mechanical image reproduction; a double system of representation is required; the apparent naturalness of the cinematic sign must be put into question by other indexical signs." —Thom Andersen. Preserved by the Academy Film Archive in 2008.
Closure of Catharsis
A man (James Devereaux) sits on a park bench talking to the camera, trying to weave together a thought that won’t cohere while commenting on passers-by, his ‘guests’… Mysterious images intervene, overturning the serenity of the park-bench monologue. Rouzbeh Rashidi’s feature proves as engaging as it is elusive.
And Where Do We Go from Here?
During an imaginary actors exam, in order to choose the best, the jury utilizes immoral ways of selection – spying, making conflictd, humiliating the applicants – in short, taking advantage of its power.
Phantom Islands
Phantom Islands is an experimental film that exists at the boundary of documentary and fiction. It follows a couple adrift and disoriented in the stunning landscape of Ireland’s islands. Yet this deliberately melodramatic romance is constantly questioned by a provocative cinematic approach that ultimately results in a hypnotic and visceral inquiry into the very possibility of documentary objectivity.
The House She Flew In On: The Video
Building on a sound piece of the same name, The House She Flew In On: The Video uses the framework of The Wizard of Oz but creates a new narrative through drastic re-editing.
The Shape of Things
A singular cinematic figure, San Francisco’s Mike Henderson became one of the first independent African-American artists to make inroads into experimental filmmaking in the 1960s. Henderson’s work throughout the 1970s and 1980s, from which this program of 16mm films is culled, thrums with a sociopolitical, humorous sensibility that lends his small-scale, often musically kissed portraits (which he later dubbed “blues cinema”) a personal, artisanal quality. - Film Society of Lincoln Center. Preserved by the Academy Film Archive in 2014.
The Last Supper
A singular cinematic figure, San Francisco’s Mike Henderson became one of the first independent African-American artists to make inroads into experimental filmmaking in the 1960s. Henderson’s work throughout the 1970s and 1980s, from which this program of 16mm films is culled, thrums with a sociopolitical, humorous sensibility that lends his small-scale, often musically kissed portraits (which he later dubbed “blues cinema”) a personal, artisanal quality. - Film Society of Lincoln Center. Preserved by the Academy Film Archive in 2016.
Down Hear
A singular cinematic figure, San Francisco’s Mike Henderson became one of the first independent African-American artists to make inroads into experimental filmmaking in the 1960s. Henderson’s work throughout the 1970s and 1980s, from which this program of 16mm films is culled, thrums with a sociopolitical, humorous sensibility that lends his small-scale, often musically kissed portraits (which he later dubbed “blues cinema”) a personal, artisanal quality. - Film Society of Lincoln Center. Preserved by the Academy Film Archive in 2016.
Mother's Day
A singular cinematic figure, San Francisco’s Mike Henderson became one of the first independent African-American artists to make inroads into experimental filmmaking in the 1960s. Henderson’s work throughout the 1970s and 1980s, from which this program of 16mm films is culled, thrums with a sociopolitical, humorous sensibility that lends his small-scale, often musically kissed portraits (which he later dubbed “blues cinema”) a personal, artisanal quality. - Film Society of Lincoln Center. Preserved by the Academy Film Archive.
Weird Weird Movie Kids Do Not Watch The Movie
Weird Weird Movie Kids Do Not Watch The Movie is the second collaborative feature film between Rouzbeh Rashidi and Maximilian Le Cain. This hypnotic, visually and sonically immersive exploration of a haunted space unfolds in two parts. In the first, a woman (Eadaoin O’Donoghue) dissolves her identity into the ghostly resonances she finds in the rooms and corridors of a sprawling, atmospheric seaside basement property. In the second, a man (Rashidi), existing in a parallel dimension of the same space, pursues a bizarre and perverse amorous obsession.
Too Late To Stop Down Now
Experimental short film preserved by the Academy Film Archive in 2014.