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Broughton reads his poetry over various images.
People quietly or mischievously pass the time in an overgrown garden full of statues, while a puritanical, funereal gentleman posts bills prohibiting all leisure activities.
Men in pairs, mostly naked, perform various sensual tasks together.
Images, Joel Singer; Sounds, James Broughton. "The film is shot both through and at a window, superimposing and conjoining, thereby elaborating events on both sides of the glass. Broughton's accompanying poem sings the same song as the images, sounding from an Eden of the golden passing of days: "They were seeing the light every day then ... / They were looking and they were seeing / They were living there in the light at that time." - Robert Lipman, On the Films of Joel Singer
Accepting the potentialities of the medium to manipulate both time and space, Broughton brings past and present head-on as he regards with adult feelings his childhood family and friends. Grown-ups romp like children, and by their magnified infantilism playfully underscore such basic traits as sadism, sensuality, arid egocentricity. (Melbourne International Film Festival)
This 11 minute homage to the male member shows its subject in the various stages of erection. The voice-over poem by James Broughton includes the line "This is the secret that will not stay hidden."
"TESTAMENT is James Broughton's exquisite self-portrait. A major figure in avant-garde filmmaking and poetry since the 1940s, Broughton views his life and life's work with irony, charm, humor, and a combination of joyous self-love and gentle self-depreciation. Scenes from his earlier films mix the elements of humor, magic, slapstick, melodrama, and romance which mark his aesthetic. A plethora of rich personal symbols is woven throughout the film, tied together by verbal games, Zen poems, anecdotes, songs, a child's prayer, dreams, and visions." - Karen Cooper "James Broughton's TESTAMENT is one of the most remarkable films ever produced within the American independent cinema. It is the most moving and most sublimely detached of the recent trend of filmic autobiographies - by Jerome Hill, Jonas Mekas, and Stan Brakhage, to name only the masters, and Broughton's peers." - P. Adams Sitney "A beautiful, important, mysterious work." - Amos Vogel
The love shaman calls for a sexual revolution of the body politic urging mankind into a new love age.
In this homage to Zen poet Basho, the subtle changes of a pond are chronicled on film over a period of time. Broughton recites his cuckoo haikus in the background.
The film travels in close-up over the mysterious terrains of nude human bodies as they touch and explore one another.