On a rock, there sits a man lost in thought. Or perhaps he is not thinking at all and is instead letting the landscape around him fill his thoughts unconsciously. Werner Herzog's 1976 film, Heart of Glass (Herz aus Glas), has one of the director's strongest opening set of images as the main character of … Continue reading Heart Of Glass (1976) – Optimism in Destruction
Valerie And Her Week Of Wonders (1970) - Duality Through Sound and Vision. Jaromil Jireš' Valerie And Her Week Of Wonders (1970) is a cornucopia of images and sound. Its vision is of a complex blossoming of sexuality amidst the visual and thematic realisations of a Freudian dreamscape, driven primarily by the lack of understanding and … Continue reading Valerie And Her Week Of Wonders (1970) – Duality Through Sound and Vision (Part 1).
There’s a mist descending on a small Bavarian village as chaos threatens to impede progress when a traditional secret is lost with the death of its proprietor. This description could be a muddy folk horror born from the soil of Britannia but, against all odds, it is a strangely distant film by German visionary, Werner … Continue reading Heart Of Glass – Werner Herzog (1976)
Recently I've been lucky enough to be involved with a new project company in Liverpool called Art Shaped. The article below is a response to viewing The Right Way by Fischli and Weiss which was especially imported from a gallery in Switzerland. The project produced a zine which is where this article can be originally found and … Continue reading Herzog + Postgate = Fischli and Weiss? (Art Shaped Liverpool)
Article originally published on http://www.ACEliverpool.com There’s something wonderfully timeless about early vampire films. No matter how aged the visuals of screen adaptations look, the bare bones of the narrative make them compelling and often affecting slices of drama. Even the word Nosferatu drips with gothic headiness and its jagged inflections speak of something dark, morbid … Continue reading Nosferatu – A Comparison. (F.W Murnau, Werner Herzog)
Werner Herzog is a dangerous director. Not content with simply make believe, he appears to enjoy a masochistic relationship with actually putting himself through his own film’s narratives and challenges. Perhaps he feels that it yields the best results but it’s obvious when watching any of his films that more blood, sweat and tears have … Continue reading Aguirre, The Wrath of God – Werner Herzog (1972)