Looking for movies, shows, games, or books similar to Border Control? Check out these recommendations on mosaic.
A quartet of crack addicts in Miami sit around, while outside, the biggest hurricane of the century is about to hit. The Pixelvision camera roams restlessly through the apartment, focusing nervously on the tiniest details, but never staying in any one spot for very long. Meanwhile, the addicts engage in desultory conversation, or make phone calls, or tell stories about their past experiences.
The summer of 2020 I spent most nights outdoors alone transfixed by the theater of the stars and the dance of the fireflies. My sense of time expanded and slowed but the time-lapse camera condenses and speeds up the experience, in seeming contradiction. I waved my arms to trip the neighbors’ motion-sensitive lights to magical effect on the trees in my backyard.
An edible indelible organic oneiric mushroom movie made for Bradley Eros on his 70th Birthday!
Caldwell's pulp storytelling, proto-feminist stance and unabashed social dramatization of his characters are a distinct vision of the condition of women -- specifically working class women. His broadly drawn themes of small town hypocrisy and restrictive moral values contextualize the titular characters' struggle for sexual expression, stability and independence. Certain Women is a disconcerting parable that pays tribute to but also defies the 50s period style of Caldwell, opting for contemporary small town situations and cinematic style. This cautionary tale of four heroic yet ordinary women is fashioned out of the past but relies on observations of the present historical moment and its political reality.
Made in collaboration with Keith Sanborn, The Deadman is based on a story by Bataille, charting "the adventures of a near-naked heroine who sets in motion a scabrous free-form orgy before returning to the house to die — a combination of elegance, raunchy defilement and barbaric splendor." — Jonathan Rosenbaum, Chicago Reader.
Peggy Ahwesh re-edits and optically prints a Super 8 stag loop, rarifying the degraded images into an abstract stained-glass mosaic. From a clumsy and heavy-handed pornographic film of the seventies that bad storage conditions have deteriorated over time, Peggy Ahwesh uses the alterations and the mold of the film to emphasize the sensuality of the scenes. It produces a newborn, beautiful film, powerful, erotic, and disarming at a time.
Utilizing heat sensing imaging technology, scenes of everyday incidents of the city are transformed into glimpses of our world through an alien lens. Two insertions of on-screen text betray Ahwesh's ominous implications. The first is a meditation on Rudyard Kipling's oft-quoted "Truth is the first casualty of war," while the second takes the form of a hastily crafted e-mail, suggesting that its author has become withdrawn and pessimistic out of fear of some pending disaster. Originally made in response to the political climate of the Iraq War, Warm Objects remains a relevant portrait of the world in uncertain and paranoid times.
A home-movie paean to the Marquis de Sade, Philosophy in the Bedroom plumbs the depths of boudoir small talk. In the first part, a newly-acquainted odd couple discuss desire—and lack thereof—over a bag of potato chips. In the second part, a recumbent woman describes her partner and herself as "the John and Yoko of the '90s." ("We're in bed most of the time," she explains.) The two read aloud, nap and argue beneath the blankets. Ahwesh manipulates the image through chemical and mechanical means, gradually shifting the color scheme from blue to yellow.
It's a portrait of my friend Renate, who was born in Berlin and spent her early childhood playing in the rubble after WW2. She tells stories and recites entries from her diary in both English and German, evoking history, trauma and lost loves. Shot in long verite-like takes, in Super 8 sound, with several color hand processed scenes.
A re-staging of Reich’s question, “Am I a Spaceman?”, at a cloudbuster near his laboratory in Rangeley, Maine. 2) A re-staging of the spaceman’s warning speech to earthlings in THE DAY THE EARTH STOOD STILL. Here the spaceship is replaced by WR’s tomb. - AFA