Stan Brakhage Movies

"The third and shortest section reintroduces camera-derived imagery and, minimal as it may be (sunlight shimmering on water, seagull wheeling in the...

This begins the fourth chapter of The Book of Film and entertains directly the considerations of chapter two (THE WEIR-FALCON SAGA, THE MACHINE OF...

The film begins with a series of horizontally running ocean tide waves, sometimes with mountains in the background, hand-painted patterns, sometimes...

BRAKHAGE explores the depth and breadth of the filmmaker’s genius, the exquisite splendor of his films, his magic personal charm, his aesthetic...

This little hand-painted film was over-a-year in the making, and absolutely dependent upon a quality of "broad-stroke" in the painting which I think...

“This is a hand-painted film whose emotionally referential shapes and colors are interwoven with words (in English) from the first Hymn to the...

Begins with blowing snow, ends with lamp stand and lights of the city.

This film is a hand-painted combination of shapes which suggest, as appropriately colored, jungle, open veldt, horizontals of grasses, shag-shape...

Two portraits in relation to each other, the first of Robert Creeley, the second of Michael McClure. Preserved by the Academy Film Archive in 2007.

Hungarian home movies are examined by the likes of James Ellroy and Stan Brakhage for evidence of family problems.

This work, composed of six rolls of superimposed images set to Tenney’s electronic music track ‘Blue Suede’, is a celebration of...

Part two of the Caswallon Trilogy, and the only film in the group to also be printed as a stand-alone. Features sound.

A hand-painted double-frame printed film which begins with textures reminiscent of a gray shag rug that is fretted by green and golden...

“With some exceptions, the Arabics take the idea of the void as their ground. That is, the light we do see almost always seems to be set...

The last of Brakhage's longer works. Part of the "Vancouver Island" films. "Purple flashes are followed by a curtain of purple and blues, first...

To the child mind, the transformative sacrificial power of "O, Lamb of God" is a daily manifestation - not as an adult shift-of-interest, but rather...

A look at avant-garde filmmaker Marie Menken.

“With some exceptions, the Arabics take the idea of the void as their ground. That is, the light we do see almost always seems to be set...

This film describes a psychological state "kin to moonstruck, its images emblems (not quite symbols) of suspension-of-self within consciousness and...

Brakhage's lecture at the Whitney Museum is a thoughtful meditation on another friend and fellow filmmaker Gregory Markopoulos.