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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.
Since the late 1960s, the almost annual productions of Richard Foreman’s Ontological-Hysteric Theater have been among New York’s artistic highlights. A legend of the avant-garde theater, Foreman is also a passionate film fan, whose taste ranges from American avant-garde to Manoel de Oliveira. ONCE EVERY DAY marks his first foray into feature filmmaking in 35 years. Highly visual, complexly edited and without a traditional narrative, the film zeroes in on a group of 25 people acting out a series of semi-ritualistic behavior patterns. But their eccentric impulses are aborted in unpredictable ways with each attempt at action or development. According to the director, “The film slowly evolves a time-mosaic of reformatted consciousness.” Longtime admirers of Foreman’s work will see an intriguing adaptation of his unique theatrical style to the cinema. And for everyone else: Welcome to the extraordinary world of Richard Foreman.
A filmed play by Richard Foreman.
Experimental documentary in which Foreman presents his way of looking at different issues.
Quite possibly Foreman’s strongest digital video, NOW YOU SEE IT NOW YOU DON’T brings together a variety of different elements, including excerpts from Foreman’s own public talks about his work, a 1984 sound recording of his French-language theatrical adaptation of Kathy Acker’s "My Life My Death by Pier Paolo Pasolini," text from Leo Charney’s book “Empty Moments: Cinema, Modernity, and Drift”, and music from John Zorn and John Cage. These materials are integrated into a typically dense and confounding aural, linguistic, and visual web, one that’s in many ways like a filmic analogue of his theater work. But NOW YOU SEE IT NOW YOU DON’T is distinguished by the addition of various kinds of image processing, a liberal and eccentric use of onscreen text, and an uncharacteristically personal, reflective tone
A "young woman who finds herself surrounded by the relics of Western culture" is the subject of Richard Foreman's formal tableaux. The narration centers on a young woman's struggle to find a relation between her body and her self as mediated by language. The text is a poetry of formal relations that carries personal and historical implications, including the desires of the woman paradoxically voiced by a male narrator. The title suggests the vivid virtuality of dreaming; scenes repeatedly refer to both reading and sleeping.
What to Wear is a raucous, bitingly funny post-rock opera from avant-garde theater icon Richard Foreman and celebrated composer Michael Gordon. In Foreman’s signature style, What to Wear is a surreal extravaganza of operatic tableaux come to disturbing, hallucinatory life. A pageant of seductiveness gone wrong — as everyone on stage turns less and less beautiful, something more ecstatic that beauty slowly reveals its awesome 21st-century face.
After flying home to L.A. for the funeral of his estranged record-producer father, a struggling man discovers that the will stipulates that he must deliver $150,000 in cash to a 30-year-old alcoholic sister he never knew existed, and her troubled 12-year-old son.
The story of Gary Valentine and Alana Kane growing up, running around and going through the treacherous navigation of first love in the San Fernando Valley, 1973.
Sarah Rector, a Black girl born in early 20th-century Oklahoma Indian Territory, believes there is oil beneath the barren land she’s allotted, and her faith proves right. As greedy oil sharks close in, Sarah turns to family, friends, and some Texas wildcatters to maintain control of her oil-rich land, eventually becoming among the nation's first Black female millionaires—at eleven years old.