DC's

The blog of author Dennis Cooper

The sensitive films of the radical Philippe Cote, RIP (1965 – 2016)

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Philippe Cote lived and worked in Paris. He made over 20 Super 8 films beginning in 1998 which were screened in festivals and film series in France and other countries. He curated experimental films programs and was on the selection commitee of the Festival International des Cinemas Differents et Experimentaux in Paris. He was a member of the film cooperative L’Etna, an artisanal and member-run film development laboratory founded in 1997 in Paris

A filmmaker with a sensitive and radical vision, his earlier works focused on the themes of the body, matter, light and color with techniques that range from cameraless filmmaking to painting on celluloid. After 2005, he moved towards a poetic and contemplative approach to documentaries and travel films.

For Philippe Cote, cinema revealed itself as a space of self-invention and of the other one, plastic exploration of the limits of subjectivity and an attempt to establish links. In a desire to take a permanent risk, his work wove and transformed from one film to another, seeking what occurs in the gaze’s movement, constantly transformed by the prints. — Violeta Salvatierra

 

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Further

Philippe Cote | Cinéaste
Philippe Cote @ Facebook
Philippe Cote @ Dérives autour du cinéma
Philippe Cope @ l’Etna
Philippe Cote @ Collectif Jeune Cinéma
Carte blanche à Philippe Cote : Cinéma visionnaire, cinéma poétique

 

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Notes sur un film en devenir (2008)
by Philippe Cote

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Je regarde mes images, à la recherche d’une expérience, d’une histoire, d’un sentiment… esquisse peut-être d’un futur film.

Les ombres

Une ruelle filmée la nuit, un trait de lumière se réfléchit au sol et expose certaine partie de l’image. Une jeune femme s’y engage, à la démarche hésitante. Tout au long du parcours, elle se révèle et se dérobe à notre regard, passe dans la lumière ou disparaît dans le noir.

D’autres plans de rues étroites encadrées de maisons, d’immeubles… lignes de fuite où naissent, s’évanouissent des silhouettes fantomatiques, d’un ailleurs qui n’est pas dans le présent du tournage.

Certains motifs reviennent… une demeure, une entrée, un balconnet. Par ces retours à l’identique, un curieux renversement s’opère où ces images semblent nous interpeller, nous regarder d’un lieu, d’un temps qui nous échappent. Dans le noir, au loin un écran de lumière, dans lequel s’inscrivent avant de se dissoudre des spectres aux contours mal définis. Sur le devant, dans l’ombre, on devine une présence… texture d’un reflet en miroir, que l’on revisite plus tard dans ces ombres passantes qui se reflètent sur l’eau, un mouvement vers le haut entame la traversée du miroir et dévoile le paysage alentour : un fleuve, des berges, une ville.

Les plans Lumières

Un marchand ambulant, des personnes entourent son étal encombré d’objets hétéroclites. On distingue une horloge. Les badauds déambulent, sans trajectoire précise, sortent et entrent dans le champ. Le marchand se saisit d’une paire de lunette de soleil, les met. Enfin, il crache violemment à terre.

Un garçon répare une bicyclette.

Au fond, derrière lui, apparaissent des enfants, adolescents, sortis d’une école, qui envahissent peu à peu l’espace occupé par le jeune homme… la durée redéfinit un nouveau partage dans l’image, en déplace le sens. Ce feuilletage à l’intérieur de l’image, on le retrouve dans ce plan où figure en amorce une peinture religieuse sur un mur et à côté le déroulé d’une rue, lieu de passage.

Sur les bords

Un comptoir de café, deux personnes installées sur le bord gauche du cadre… pour le reste, notre regard bute sur le mur du fond… ces personnes discutent de manière passionnée avec une ou des personnes restées en dehors du champ.

Un bateau, trois jeunes hommes accoudés, on ne distingue pas leurs visages… là, ils s’inscrivent sur le bord droit du cadre, regardent dans la même direction, prennent des photos, vers de lieux qui nous demeurent secrets.

Un marché, des outils, des objets posés à terre. Filmée en plongée, d’un côté, on aperçoit la moitié du visage de la vendeuse, de l’autre la main et le bras d’un acheteur… au centre le lieu de la transaction, immuable, perturbé un instant par une personne qui s’accroupit… le plan se termine brutalement avec la fin de la bobine.

Présence du hors champ, durée, étrangeté de la composition là, transport du centre de gravité vers les bords, nous ouvrent de nouvelles aventures du regard.

Ta solitude

Autoportrait du cinéaste.

Allongé, la caméra décadre son corps laissant un espace vide à ses côtés. La vitesse d’enregistrement imprime un mouvement saccadé à sa respiration, comparable à un essoufflement. Celui-ci se relève brutalement pour s’asseoir au bord du lit avant de disparaître dans le blanc de la surexposition de la fin de la bobine.

L’en dedans

Intérieur d’une chambre, une petite lucarne ouverte dans un des murs de la pièce nous laisse deviner autre chose, différemment, sous la forme du bleu du ciel, du blanc des bâtiments. Puis, dans un mouvement ascensionnel, notre regard avance lentement vers cette ouverture, tentative désirante d’abolir la distance qui nous sépare de cet ailleurs.

Une fenêtre ouverte, une personne entre dans le champ, se penche, puis la ferme… il ne reste à la fin qu’un mince filet de lumière.

La trace

Le détail d’un mur : carré blanc à la surface tortueuse, puis un autre carré, en noir et blanc et en couleurs, fissuré, échancré… des affiches, annonce d’une fête religieuse, en barrent en partie la surface.

Un mur surplombe une rue. On distingue une fresque : un Christ en croix et le nom de la rue Castelar. Il reçoit les ombres projetées des passants, des maisons alentours… les ombres se déplacent avec le soleil.

Un mur dégradé et une fenêtre opaque.
Surface écran qui supporte les ombres, pages ouvertes sur le monde parcourues par les traces du temps, limite parsemée d’ouvertures diverses comme autant d’appels vers de futures promesses.

Epilogue

Ce dimanche, dans une foire, je fais l’acquisition d’un lot ancien de films super 8, sur l’une des boites était écrit Andalousie.

 

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12 of Philippe Cote’s 28 films

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Ether (2003)
‘Liquefied images are transformed into substances of volatile light. The eye has no hold on shapes with an unstable contour. By successive generations, these gradually rush into different states of color until they become incarnated in the completion of an image.’ — Collectif Jeune Cinema

 

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L’en dedans / les ombres (2005)
‘Crossing of the frame and passage inside.
The image is transformed, reconstructed and revealed by concrete and unstable movements, elementary forms, lines of force, points of light and deep blacks.
The film oscillates between constituents of the image (grain, line …) and its representation, revealing underground and forgotten figures.’ — Derives

 

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L’ange du monde (2006)
‘The angle of the world allows us to see the real as an outer and inner presence at the same time, an opaque otherness, yet capable of becoming an intimate space. These incommensurable lengths and distances of an interior that opens up: The mysterious movement of the clouds, the cadence of the waves against the light, or the silent slippage of a barely identifiable human silhouette, everything seems transfigured, derealized and reinvented by light in a poetic world that evokes the paintings of Turner or Friedrich, the writings of Poe or Baudelaire.’ — Violeta Salvatierra

 

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Des nuages aux fêlures de la terre (2007)
Du noir et blanc, puis une teinte entre couleur et noir et blanc
Vert bronze
Du grain de la gravure de la photo c’est fixe puis on sait qu’on regarde du cinéma
Le temps de l’invention de l’image photographique nous est à nouveau présent nous revient en mémoire
Ether toujours
Géométrie de la terre et géométrie du nuage le sens des nuages
Ça donne envie de lire des pages sur les nuages on en a écrit tant de toutes sortes littérature art plastique philosophie science cinéma et d’autres
Tous les domaines de la rêverie et de la réflexion humaine ont été innervés par ces vagues voluptueuses
Tous ont été surfaces reflétantes miroitantes
Le cinéma seul montre ces voyages ces défilements
Le bleu soudain et l’étoile à la lucarne
Géométrie des formes lignes rayures triangles rectangles noirs blancs
Monts noirs monts blancs en miroir reflets du ciel
Puissance du gris nuances des commencements
Cîmes
Regards tendus corps de la lumière silhouettes furtives
Effacements successifs
On peut ouvrir grand les paupières
Si l’on veut.
— Catherine Bareau

 

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Va regarde (2008)
‘… I go to Thailand and then to northern Laos (Luang Prabang then normally further north), surely then to Cambodia. At the origin of this departure, it is an aspiration in a renewal of my cinema, in the search for new lights, new spaces, new relationships … I initiated it with my film L ‘ ANGLE OF THE WORLD turned on the islands dear to Jean Epstein, others will follow … Let’s say to a cinema closer to the poetic documentary: to be there and to look, to inscribe the duration, not to try to force the things that present themselves. I am dreaming of the images of Peter Hutton (Images of Asian Music and André Sauvage (iconoclastic documentary filmmaker, who knew how to film these countries with love and humanity in the 1930s). Touching this point of contact between a personal reality (let us say of the order of the intimate) and this otherness present in front of oneself Space of the others) …’ — Philippe Cote, May 2006

 

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Va regarde 2 (2009)
At the origin of these departures,
There is aspiration in a renewal
Of my cinema, in the search for new lights,
New spaces, new relationships …
Towards a cinema closer to the poetic documentary:
Be there and watch, record the duration, not
Seek to force the things that present themselves …
— Philippe Cote, May 2006

 

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19, Espíritu Santo (Andalucía) (2010)
‘Originally, there were the words you wrote to me to initiate the images to make, far away, alone, over there in Seville and Andalusia. Then, after a silent first montage …: “I wanted (this is the first time that it happens to me in front of one of your films) to hear voices. In spite of myself I thought of a sonorous montage, made of long silent beaches alternating with a few moments of voice, words, and perhaps a little sound, rustling. It seemed to me that this way of sounding the film gives a presence (presences) whose function would be mainly to invite to listen to the images. It would also give more alterity to the object … ” The film then found its definitive form, an intimate and shared essay between your voice, choices of poems read, listening, and my images.’ — Philippe Cote

 

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Orissa (2010)
‘The story of an encounter…’

 

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Le Voyage Indien (Partie 1) (2011)
‘The film unfolds in parallel the images of two travels to India and Nepal, following one itinirary and two crossings. 8mm images, shot by an annonymous traveler at the beginning of the seventies and that I discovered at a flea market, punctuate my own Super8 images that I shot at the occasion of recent stays in 2008 and 2011. Some post production ambiant sound, recorded on site during the shoot, have sometimes been added on top of the orginal footages. Others remain silent. The film exposes instants revealed by a gaze caught in a geography dreamed by the author. Not a travel journal.. but travel as the desire for a poetry of sound and image.’ — Philippe Cote

 

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Images de l’eau (2012)
‘This film describes different forms and manifestations of water. The experience of the filmmaker’s body immersed in water, sunken into the liquid element, represents the main theme of this poetic essay on the imagination of this element.’ — CJC

 

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Jardin d’été (2012)

 

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Le Chemin des glaces (2013)
‘By feet, by boat, by train, this film, shot in super 8mm, leads us from the old New York to the snowded et iced lands, farer in the North, through a white progression.’ — CJC

 

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p.s. Hey. ** New Juche, Hi, Joe. Oh, great, thank you! I’m going to get it once I leave the realm of this p.s. Everyone, New Juche, d.l. and author/creator of the amazing ‘WASTELAND’, which the blog devoted a post to a while back, has a brand new work, and you can download it for free, and I highly, highly recommend that you do because his work is always singular and amazing. Hence, click this and then follow the instructions. Very exciting! Have a stellar Monday! ** Erin Reznick, Hi, Erin. Welcome to here! Oh, sure, that’s very nice to hear. I will write to you today, and, just for the record, my email is denniscooper72@outlook.com. Thank you very much! Take care. ** Joakim, Joakim! My old buddy and comrade! Holy moly, it’s so nice to see you! I think about you a lot and wonder how you are and what’s going on and how your work is and everything else. I’m good, busy with a ton of really interesting projects that I’m grateful to be working on, and Paris is forever with considerable charm. Any chance you’ll ever get down here? It would be awesome to see you. And I’m always looking for a reason to get to Copenhagen. Anyway, it’s so sweet to get to interact with you. Tons of love to you! ** Jonathan, Ha ha, there you go. Huh, about the Xmas beer. I don’t really like beer all that much, and sweetened beer makes feel a little nauseous, but I get it, yeah, interesting. Thanks for your picks. Completely understandable, yep, nice gang there. I like the Trianon. I’m not sure I like it enough to take a train to Versailles and try to carefully transport it back home. You’re not into the fruit thing, Yeah, that can be problematic. It seems to be generally held that what distinguishes a Xmas cake from a regular one is some degree of fruit flavor therein. Anyway, your responsive rundown was both useful and had a poem thing going on it it too. Yay! 6, ha ha? No, usually I end up getting two. One for me and one that’s shared eating- and finances-wise with friends. What?! Aoki is doing Monoprix’s buche?! That’s insane! How did I miss that? Oh, my God, I’m going to the Monoprix across the street today! Thanks a zillion, J-ster! Wish you could be here to gorge with me. ** Dóra Grőber, Hi! Good cake choices there. Me? I would say that, at the moment, the top contenders for my Euros based on their combination of looks and ingredients are … Hôtel Vendôme, Café Pouchkine, Pierre Hermé (although I think its exorbitant price is going to prevent me), Hotel Shangri-La, and Four Seasons Hôtel Georges V. Maybe. That could change. Yeah, it’s very true what you say that you’re always finding your voice. In fact, I think one of the problems with a lot of writers is that they decide they’ve found their voice and then they stick to it and just milk that voice forever. But it’s cool when you know you’ve found a good area for your voice that’s exciting and also seems like an area that your particular talent can use as a home base or something. Cool! So how was the tattoo festival in the end? Did you learn stuff? Did you indulge and get a new one? I mostly just worked this weekend. Zac is still sick at home, but he said he was feeling better last night, so hopefully I’ll finally see him today. ** Kyler, Hi. Well, yeah, ‘what ifs’ are the artist’s best friend or something. Yes, if my father had married Mary Martin, I would have never been cooked much less served. So all for the best. Your article is published! Hooray for you and for all and sundry! Everyone, Kyler, d.l. and author and far more, has had what is no doubt a fascinating article by him published over the weekend. If you didn’t already catch that and link yourself up with the article, know that it’s called ‘Adventures On The Magical Path’, and that you can find it right here. Oh please do! Looking forward to it! ** David Ehrenstein, Hi, D. Oh, good about your piece on the Scorcese. Naturally I’m quite curious about it given that some people seem to be saying it’s his long, long, long awaited return to high form. That would be a good thing. ** Sypha, Hi. Of course, I don’t know hide nor hare (hair?) of any of those fantasy writers you mentioned. I think I need a ‘fantasy’s greatest hits’ book or something. ** Tosh Berman, Hi, Tosh. Yeah, people seem to be liking the orange. I’m very curious to see it in the flesh. The thing with Patrick Roger in my experience is that his stuff looks really good and cool and slickly so, but his stuff generally has this excessively exotic taste that can make it taste like you’re eating perfume or something. But I want to see the orange in the window at least. There are tons of cheap knock offs. Literally every patisserie in France has a Xmas buche for sale. They look basically the same, ‘log-like’ but in a smoothed out, bland kind of way. Delicious, no doubt, but not special enough. ** Wolf, Wolf! I was going to try to type whatever the text equivalent would be of that, uh, ‘wah-oooo’ or whatever recurrent vocal thing in that song ‘Werewolves of London’, but everything I tried looked stupid and didn’t convey a celebratory tone, so I deleted. Wolf! Yes, I seem to have amazingly managed to help avoid much political talk here on the old blog, which is, you know, nice. Ha, that quote, ha! I think it is a pretty stellar buche selection this year, yes. I’m a sucker for book-shaped buches, so, yeah, Pouchkine is in the running. I’m not so into Michalak’s surfer van. He used to be the master of the buche up until about two years ago, and I feel like he’s gotten lazy. He used to do little realistic stoves where you could open the doors, and one time he did a treasure chest with a chocolate key that actually unlocked and opened the cake/treasure chest. So … I don’t know. I expected more from him. The Dalloyau is the only one of those buches I’ve seen in person so far and, unfortunately, in the flesh it looks really cheap and crap. My winner is still in process. I named my finalists to Dora just up above somewhere. I know, sweet about the John Waters thing. Dude is the best and has impeccable tastes, obviously, ha ha. Seville, nice! Never been there. I have finally set foot in Spain though for the first time. In Sitges and Barcelona. I loved Barcelona. I don’t think I know Lorraine O’Grady. I’ll investigate. I’m good. The moving sucks hugely, but I’m good. Zac and I are getting ready to shoot our new film. That’s the most exciting thing. And working on an opera and a TV series project for ARTE with Gisele. And stuff. I’m good. Big love to you, big buddy! I’ll miss you until you come back, so come back soon. ** Morgan M Page, Hi, Morgan. No, my French is pathetic. I understand okay, but I can barely speak a word. I’m supposed to be taking French classes to help because the new film I’m making is in French, and I have to get on that. It’s totally possible to live here without speaking much French. It’s a hassle for friends who have to talk in English to me, but they don’t seem to be angry about that. Thank you very, very much about ‘ZFE’. Yes, I feel like, with it, I managed to make the novel-like elements much more available and possible to decode and explore. Yeah, thanks so much! I hope your Monday goes incredibly well. ** Jamie, Ha. I can’t think of a good acronym this morning, so you’re off the hook for the next 24 hours at least. I don’t have a favorite buche yet. I listed my tentative finalists to Dora up above. I think the Hotel Shangri-La is a serious contender. I do want to see it in person. Thanks about my CC wordage. The Melvins aren’t generic punk at all. Their characteristic thing is taking the visceral pleasures and structural devices of heavy metal and employing them within quotation marks that manage to create kind of an affectionate critque of Metal and a simultaneous distillation of its power without Metal’s problemmatic dumb and formlaic aspects. They’re very smart, often very witty, and powerful. At their best, I think they’re genius. To start … hm … well, I think you could do worse than start with their one almost popular/ successful album ‘Houdini’. I think that’s a good in. You’ll know pretty quickly if you’re interested in what they do or not. Interesting about the screening. Yes, I know of Section 28. Neil Bartlett, the author? I used to know him a bit, if so. We shared the same UK published for a while (Serpents Tail). Virtual Writing Gang sounds like it’s all that I assumed and hoped it would be based on the name. Very cool. My weekend was slowish. I did see a movie. It was Albert Serra’s ‘The Death of Louis XIV’. It was very good, better than I had thought it would be. I hope you dig Monday and that Monday proves diggable. ** Steevee, Hi. I tried a little of Heron Oblivion. Based on my try-out, they don’t sound very unique to me. I feel like I’m hearing a lot of stuff that sounds generally like that. Maybe they’re the band who’s gotten discovered by the rock critic set that doesn’t generally look for music in the far margins? I’ll listen further. I don’t think you said anything offensive at all, but I rarely get offended by opinions when they’re serious and intelligent like yours are. ** H, Hi. Thanks. No, I’m still looking and considering and winnowing. I need to see them in the real world usually first. Pictures of buches can often make them look like they don’t look at all. I would be totally thrilled to have either of those guest-posts that you have in mind, if you end up having the time and inclination. Thank you! ** James Nulick, Hi. Yeah, Roger’s orange has proved very popular. Interesting. I’m suspicious of it, but I’m not a big fan of his cakes and chocolates in general. I’m not excited to visit the next possible new apartment, which I’m doing in, oops, 90 minutes, I’d better hurry up, but I have hope. I’ve met Lydia Davis twice. I read with her once, and I hosted a reading by her once. She’s great. ** J. Gloria, Hello. J. Gloria! Good morning from Paris! Ha, oops, sorry. The first time I read ‘Hogg’, I might have had a similar reaction to you. I kept wanting it to do something with the pulpy porn voice and narrative, and it seemed like it just stayed the same all the way through, and I got tired of it. The second time I read it, I don’t know, I just got how intense and singular it is or something, and I didn’t expect it to transcend itself. I don’t know. But I understand your problems with it for sure. Thank you for starting to fill me in about you. You’re doing a BA in English lit, that’s very interesting. And you’re in Poland, and that’s very interesting. I’ve never been there. It’s a very foreign blank to me, which, course makes it intrigiuing. Where would you like to escape to? Sure, you can ask me anything you want. It would be my pleasure. I’ll have questions for you too, be assured. ** _Black_Acrylic, Hi, Ben. Me too, about the Herme. But it’s 280 fucking Euros! Grr. Welcome to the iPhone. *Secret handshake.* Awesomeness surpreme about the booked flights! Yay! ** Okay. I had never heard of Patrick Cote until about a week ago when he died whereupon French filmakers and film buffs in my Facebook feed began mourning him and praising his work. He seems quite obscure here in France, and I doubt that hardly anyone outside of France knows his work. I investigated it and found it very strange and beautiful, like nothing and the opposite of nothing at the same time. I don’t know, I hope you will enjoy discovering his films today. See you tomorrow.

19 Comments

  1. Hi Dennis,

    This is lovely. Thank you for sharing. xoxox

  2. Never heard of Cote. A fascinating figure. Merci.
    8mm filmmaking was popular in the 60’s and Super 8 was seemingly a trend later on. But video has replaced everything.

    I campaigned heavily for the Los Angeles Film Critics to award LCTG but there were no takers. The group as a whole is quite conservative (small c) with the top prize going to “Moonlight” — a film I really can’t stand.

    Here’s a nice review of a new Cocteau bio.

  3. I don’t know of Cote’s work. And he passed away quite young. Thanks for bringing him to our attention. It’s interesting that he worked in the Super 8 format in a time when everyone is going digital. I like people who are committed to a specific format for doing their art. For sure, a more intense relationship between that medium and one’s art.

  4. Hi!

    Mm they all look delicious, I’m curious which one will be your final choice! When it’s time, please tell me!
    Yes, I guess that’s when I feel like someone writes the same book over and over again, and I’d like to avoid that. I also find it quite impossible to maintain the same exact, unchanging style, though, so it’s not a conscious effort, it just changes and – hopefully – improves naturally. I like that I’m never ‘motionless’ in this sense.
    The tattoo festival was… good but not entirely what I expected. I thought there were going to be books and magazines and machines and everything. There weren’t any. There were a LOT of artists, though, and it was really exciting to watch how they work on very detailed and tough pieces. I’m planning to buy a machine in the near future so it was useful to see all the little practices professional artists use. I didn’t get a new tattoo, though. It was only an option for those who won one of the artists’ offered drawings and I like designing my own tattoos so I didn’t compete.
    Shit, I really hope Zac is finally feeling better!! Is he? How was your day?

  5. Dennis

    Sincere thanks again for the link and your wonderful words of confidence in me. I hope you like the thing, as I mentioned before, apart from the appendix, it’s entirely a visual piece.

    The stills are beautiful, I’ve never heard of Cote. I’ll watch some of the films shortly.

    Can you comment further on Death of Louis XIV??

    Massive thanks and gratitude again! By the way, how was the apartment?

    Joe

  6. I’m uploading some of my photography to my blog, too bad that not that much came out from a bunch of films used on a Berlin trip and also of the neighborhood of mid century apartment blocks in Antwerp known as the Cogels – Osylei. One of these highly individual mansions has a double roof and balcony supported by a row of devil -men, each one with a varying degree of pensiveness on their faces. I think of these mansions only two transpired onto the film to CD scan. But a friend gave me a picture book documenting every single home in that neighborhood.

    I watched the Tickled documentary, nice to know someone is prolific in their specific fetish domain. I’m reading Lolita in Dutch but I will probably start to interchange with the original text as it probably doesn’t translate too well in Dutch.

    Nice write up by John Waters. Hope to see the film soon. Not much happening on the writing front here or musical inspiration. Was fun catching up on the blog, not commenting, of course, doesn’t mean I’m not enjoying the great blog. Have a good week and looking forward to another week of interesting posts.

  7. Cote looks really interesting. I hope I have some time soon to properly delve into it.

    Re: The buche. My favourite is the wood block one: Hôtel Prince de Galles.

  8. I plan to watch LIKE CATTLE TOWARDS GLOW tomorrow evening. If I like it a lot, which I expect to, I’ll be voting for it in the “Best Undistributed Films” category in the Indiewire and Village Voice year-end surveys. I know it was distributed on DVD in the US, but I think that category is referring to American theatrical release.

    The only bands Heron Oblivion reminds me of are fairly recent neo-psych bands like Dead Meadow, who lacked the folk element. Someone compared them to Black Mountain, whom I’ve never heard. Obviously, they owe a lot to Fairport Convention, but they conjure up a version of Fairport with Tony Iommi on guitar instead of Richard Thompson.

  9. Just watched all of these. I started with the Thai/Lao one, not too surprisingly, and it bewitched me so I watched them all. It’s hard to say if they’d be as enchanting if they weren’t shot on Super 8. Is this format never used anymore? What other people doing stuff like this are there?

  10. Hey Dennis,

    Sounds perfect, I’m happy for you. You’ve been on my mind as well, especially during the Google war – I was super angry but then so so relieved when they gave you access to your archives. Scary stuff, that I’m hoping you’ve recovered okay from by now. One particular post that pops up in my head quite often btw, is the ‘gay ghost porn stories’ one – it’s still haunting me but in a good way.

    Actually I’ve been wanting to go to Paris for quite some time now, and my bf Asger has been talking about it, too – we should definitely visit. Perhaps early next year? I just want to make sure that you, Michael and Benedetta are home of course. Do you know of a hotel that’s not super expensive? The hostel me and Eli stayed in the last time was bed bug infested, haha – no thanks!

    Some pretty recent work, if you’re curious:

    Ha-Life of No < Body, 2016
    Ink on paper, 60's zine, c-print:
    https://www.instagram.com/p/BLlpXTwhbuN/

    ~

    About Condition, 2016
    Styrofoam, aluminium:
    https://www.instagram.com/p/BNh2zo0BLNC/
    https://www.instagram.com/p/BNh3FlthL55/

    ~

    "Bare Bones Like Lines" in Ordkonst 3 issue SATAN:
    https://www.instagram.com/p/BNl3-Beh3iw/

    (Just a preview)

    ~

    Untitled, 2015
    Black cotton, piercings:
    http://www.joakimalmroth.com/2016/09/untitled.html

    <3,
    Joakim

  11. Are you familiar with the radical queer French filmmaker Lionel Soukaz? Anthology Film Archives held a retrospective over the weekend, although all my moviegoing time was taken up with their Dennis Hopper retro, which ran concurrently, and the Film Society of Lincoln Center’s Raul Ruiz series.

  12. Hey Denation! How’s it going? I’m in Newcastle, staying in my new boss/writing partner’s house & forgot my headphones, so can’t check these films till I get home, but will do asap. Thanks for the post.
    How was your Monday? I had a very pleasing writing session with Jonathan & I think we’re both looking forward to more tomorrow.
    Thanks for the Melvins tip. Will give them a long overdue shot when I next can. Your writing about them gave me a wee thrill also. Well put again.
    It must be the same Neil Bartlett that you know. That’s cool. Have you read any of his books? The humour in his film was so sharp I’m very interested in picking one up.
    Wishing you a tres bon Tuesday.
    Lots of love to you,
    Jamie

  13. Dennis, I wonder how one goes from radical experimental filmmaking to travel films and documentaries. That’s interesting.

    My espresso maker went kaput this morning. No fear! I bought another tonight.

    Have you seen/been following this crazy ass Comet Ping Pong shit that’s going on over here? Fucking insane.

  14. I think my taste in music is definitely growing more conservative. I don’t read the Wire each month and download their free improv, drone and minimal electronics recommendations. I don’t know what to do about this. It seems to be happening to everyone I know who’s my age or older, except for you. I have one friend who’s only 51 but has the taste of a 65-year-old baby-boomer.

    I’m afraid this may be happening with my taste in film. My tentative top 10 list includes some genuine outliers, like a 4-hour Chinese documentary about a mental hospital, but a lot of films that were pretty heavily hyped within the critic/cinephile community. Of course, this doesn’t mean much in the real world; when SUICIDE SQUAD grosses $300 million in the US, a film getting great reviews but struggling to gross a million dollars is pretty marginal.

  15. Dennis, thanks for the link-up and your kind words. The article got a huge reaction and I’m just coming down from the weekend’s high. There really is nothing better than being published, don’t you think? Though I wrote that years ago (fixed it up a little recently), there’s something so official about finally having it out there and makes me have to live up to it all. It’s been a real confidence boost. The editor has lots of friends who saw it, and it was shared 25 times so far. And he wants to publish the next 3 chapters of that first book as articles also. So it’s all good and I’m hoping the 2 recent agents who have requested my other novel will see it too. Thanks again…so good to be a part of this place here.

  16. hey, man,

    missed u.

    lmfao, u think my words bout todd haynes were harsh???!!! lmfao!!! 2 paraphrase the absolutely great and brilliant, the 1 & only Annie Hall: “those r polite words 4 what he is”.

    dont get me wrong, ive certainly enjoyed & admired part of drag citys output over the years. like 4 example scout nibletts ‘the calcination of scout niblett’; 1 of the greatest albums of this decade & of course the work will oldham has released thru it. or at least part of it.

    im almost absolutely certain once several years ago i saw at least one of cotes films but i just cant remember which one/s. i just fuckin cant.

    uuugghhhh, sorry, but that safe space thing u featured in ur “books that i loved” post some days ago sounds exactly like something id prefer to endure medieval torture rather than reading & a perfect example of whats wrong with todays western civilization & y its crumbling all round us.

    as always the bûche de noël post was fucking. great. thanks! id love so much 2 1 day taste 1… hey, u actually eat it every year, by the way?

    also, like what percentage of those “slaves” profiles u think r legitimate/sincere/serious? those profiles r at least in part what inspired ‘the sluts’, right?

    finally, what would u think if i went to the ‘i apologize’ thing on february???

    take care,

    good day; good luck,

    love & hugs,

    ur friend,

    a.

  17. Hi Dennis,

    This director is new to me. I should watch these soon. Stills you selected look gorgeous. Thank you so much!

    I don’t eat cake or any other sweets lately to better transform my body shape for my gender. Also, the price of a piece of cake here can be that of a ticket for one screening. But happy that you’re enjoying your buche search. And I will secretly borrow your pleasure at some point.

    Last week, this film school took some of students to Anthology Film Archives and we were in restored experimental film introductory session curated by their archivist John Klacsmann. It was an extensive talk & screening session over 3 hours. It was very cool. And the archivist also was very interesting. I’m planning on going there as often as possible. I guess it won’t be more than once a week, but that would be a lot for me. But to work on experimental films, it felt necessary. The theater (Maya Deren theater) isn’t that fancy. And it was utterly dark before the film starts. But it added some kind of intimacy and horror to unusual forms of those films — the most cerebrally erotic experience during my new york stay so far. We heard raindrops hitting the theater while viewing them, so it was strange and great.

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