Pip Chodorov
filmmaking, distribution, programming, education
USA/France
Voted for
Film | Year | Director |
---|---|---|
2001: A Space Odyssey | 1968 | Stanley Kubrick |
Meshes of the Afternoon | 1943 | Maya Deren, Alexander Hackenschmied |
Diaries, Notes & Sketches: Walden | 1969 | Jonas Mekas |
La Jetée | 1962 | Chris Marker |
Window Water Baby Moving | 1959 | Stan Brakhage |
Duck Amuck | 1951 | Chuck Jones |
Wavelength | 1967 | Michael Snow |
Dog Star Man | 1964 | Stan Brakhage |
Free Radicals | 1958 | Len Lye |
Recreation I and II | 1957 | Robert Breer |
Comments
2001: A Space Odyssey
A film about how film can go beyond story and raise the consciousness of its viewers. This film, like the monolith it describes, caused an evolution for motion picture art and for humanity as a species.
Meshes of the Afternoon
A mind-altering, life-altering, world-altering film by a first-time filmmaker as she embarks on a pioneering adventure to steer independent filmmaking into the realm of the personal, the poetic and the symbolic.
Diaries, Notes & Sketches: Walden
The first full-length diary film, opening the art of cinema to the world of the first person poet.
La Jetée
Film is the art of motion picture, though in this film nothing is moving, yet it describes a chilling loop in time. Film is a loop in time, literally. I lied, there is one moving image: our eyes opening.
Window Water Baby Moving
A most beautiful childbirth film, disturbing and wondrous, an adventure into how personal filmmaking can be.
Duck Amuck
Entertaining comedy that also completely blows apart film form and the viewer's expectations and self-awareness. For once, an educational cartoon.
Wavelength
A stunning example of conceptual filmmaking that is also funny and philosophical.
Dog Star Man
An epic lyric poem four years in the making, using every possible technique known to the filmmaker.
Free Radicals
Images are not images but scratches in black leader, a truly pioneering exploration of the film material. Light and shadow do not represent another reality but are their own reality.
Recreation I and II
Every frame is different, the first purely radical film experiment in animation