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A collage film in which Pope Pious XII does a juggling act.
Documentation of an exhibition entitled Le Mouvement held in Paris in 1955, co-curated by Breer and Pontus Hulten. Features works and appearances by Breer, Tinguely, Agam, Soto, and others. — Anthology Film Archives
Animated short
A live action footage of a smiling, bespectacled (presumably) Western tourist set against the familiar cadence of an accelerating train revving up as it leaves the station sets the mesmerizing tone for the film's abstract panoramic survey of an Ozu-esque Japanese landscape of electrical power lines, passing trains, railroad tracks, and the gentle slope of obliquely peaked, uniform rooflines as Breer distills the essential geometry of Mount Fuji into a collage of acute angles and converging (and bifurcating) lines .
Personal photos are interspersed with fragmentary drawings and flashes of colour, observed and/or remembered everyday events - all of which add to a general sense of reminiscence. Sometimes a hand appears (Breer’s own) on top of a photo, reminding us that the photo is but an object in the film, not the film itself.
Conceivably the best of all of Breer’s films to date – has more to do with figuration, according to Breer’s formulation regarding titles with letters or numbers. This becomes clear right away as the title letters are intercut with a flurry of fish swimming past the frame lines, which are made all the more literal through the associative chain established by a snippet of Schubert’s Trout Quintet heard on the soundtrack, along with footsteps – which continue over a profusion of other shapes, colors, and objects, including the title letters again. -- Jonathan Rosenbaum
An anarchic collage of invention, Rubber Cement uses rotoscoped family footage together with found objects to create an almost free-form animation bursting with color and movement.
Sparkill Ave! combines still photos of Breer's home and environs with hand-drawn images of ordinary objects and scenes.