Breer's earliest experiments in animation are wonderfully dense yet lyrical abstractions based on Breer's own geometric paintings. - Harvard Film Archive
An elegant home movie, its subject is Breer's apartment which faces the Tappan Zee (T.Z.) Bridge. It is permeated, as are all his films, with subtle humor, eroticism and a sense of imminent chaos and catastrophe.
Breer's extraordinary autobiographical film combines personal and family photos with intense colors, textures and geometric abstractions. Originally presented as part of Karlheinz Sotckhausen's 1964 premiere of Originale. - Harvard Film Archive
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
Featuring a commentary by Noël Burch (in nonsense French), Recreation's rapid-fire montage of single-frame images of incredible density and intensity has been compared to contemporary Beat poetry.
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,...
An abstract view of a seacoast landscape, created by mixing original line drawings and rotoscoped imagery traced from live-action footage, presented against a sound track of seaside noises.
Breer's earliest experiments in animation are wonderfully dense yet lyrical abstractions based on Breer's own geometric paintings. - Harvard Film Archive
Utilising an apparently new-found obsession with the colour red and reinvigorating some of the circular imagery of A Man and His Dog Out for Air and 69, Breer delves into the very basis of animation to explore how a variety of easily recognisable objects can be portrayed and manipulated differently...
An endless loop of film composed entirely of disparate images. Through repetition, certain images isolate themselves from the flow reforming the original pattern.
Experimental film, in which against a black field, constantly changing coloured strips of paper cross the screen, meet each other and deflect at angles.
