A wordless experimental collage of impressions and moods. Grainy fragments of landscapes, flakes whirl in the wind. Fog and mist, shadows of people in the city and by the water… Silhouettes that fade and turn into pure light and shadow until we discern the specks and scratches on the film strip...
Often the images are held for awhile and then left to themselves - only to fade out just as they begin to move. For me this enhances the feeling of memory - and the sensation that when you leave a place you know that everything is still there, without you. And so the film is both elongated and...
After eight years of feminist activism, ANDANTE MA NON TROPPO was Meters’ first step back towards experimental film. The camera observes a street corner from a window in Meters’ house. Turkish women meet on the sidewalk outside. Children play, dogs walk by. The shots repeat, just as the actions...
Barbara Meter's first experimental film. From outside, the handheld camera surreptitiously peers at life in the living rooms of nocturnal Amsterdam. Shots of lamp shades, plants, chairs, faces and pets. A poodle stares out of the window.
A Young man is interested in the girl next door, but also discovers that he is not insensitive to a boy, with whom he has dress-up parties in the attic and plays in an old bunker in the dunes.
People embarking on a small boat - the bustle and confusion of it. A walk and a song. A villiage square, men with coffee, women with children, and old man by himself. A painterly use of film grain.
A day in the life of an old Ottoman bath with the bath itself as the main character -- from dawn till dusk, where the light, the mirroring in the water and the visitors figure alongside the protagonist .
A very impressive film is Barbara Meter's 'Distance to Nearby.' The film is a dramatic reconstruction of memory. The memory of the alienation and solitude of a (half) Jewish child -the filmmaker- while in hiding, dramatized in restrained but touching imagery. For instance the looking through...
