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Mysterious cinematographic events unfold in a very neat little space, like a theatre. A ball gets bigger and bigger and then suddenly disappears: there’s a dog a good head or two taller than a child; a young woman miniscule one second is huge the next… We don’t get it, but just enjoy taking part in a phantasmagorical experience like an audience in the early days of cinema, with filmmakers that have made an illusion out of this art.
This film opens with the sense of juxtaposition and absurdity that are the basis of Magritte's paintings, and succeeds in contributing to the surrealist tradition through subtle and powerful manipulations of the filmed image.
CUT appropriates 6 classic black and white Hollywood film clips from the 30's and 40s. The images and the sound are reconfigured through graphic and sequential interventions. The disruptions refocus and enhance our attention to latent aspects of the films and compel us to watch with heightened awareness and new appreciation.
A tribute to, and evocation of women no longer alive. The rituals of their daily lives are honored and memorialized through transformed images of flowers, woods, water and more. (Anita Thacher) LOST/ IN MEMORIAM's non-narrative domestic and natural imagery progresses through the rhythms and emotions of the accompanying piano music by Robert Aldridge. The rituals of women's daily lives are honored and memorialized. «...Anita Thacher's elegant, abstract tribute, LOST/ IN MEMORIAM: stylized images of tulips and waving grasses whose splendid sensuality are an apt elegy for the creative lives of friends loved and lost. Thacher evocatively quotes Virginia Woolf (A Room of One's Own): 'Great poets do not die; they are continuing presences.' Her film is dedicated to Francesca Woodman, Susan Loda, Susan Brockman, Yvonne Vera and Barbara Jarvis.» (Karen Cooper, Film Forum)
Short film by Anita Thacher
"A surrealistic film made with optical printed techniques about a young girl who acts as a guide on a journey aimed at recapturing childhood through the distortion of memory." - The Independent
“Anita Thacher's film was ignored by critics of avant-garde cinema because its lively deconstruction of pornography did not fit into any of the dominant critical categories of the time. »Lauren Rabinovitz
Tom fights with another cat over Jerry.
Chelios faces a Chinese mobster who has stolen his nearly indestructible heart and replaced it with a battery-powered ticker that requires regular jolts of electricity to keep working.
When a mute makeup/special effects artist working on a low-budget slasher film gets locked in a dilapidated Moscow movie studio late one night, she thinks she witnesses the making of a snuff film. Thus begins a night of terror.