A text by the Flemish poet Bart Moeyaert in a filmpoem by Dutch photographer and filmmaker Judith Dekker. Commissioned by the library of Genk, Belgium, it was screened at this year’s ZEBRA festival as part of their focus on Dutch and Flemish poetry films. Moeyart supplies the reading used in the soundtrack, and the English translation in titling (also included in the description at Vimeo) is by Astrid Alben.
A poetry-film collaboration between London-based Nigerian poet Tolu Agbelusi and director HKB FiNN of JustJazz Visuals. Somehow the poem’s story of an interpersonal cycle of abuse seems appropriate to the political moment.
Check out a couple of additional films on the Video & Audio section of Agbelusi’s website.
This film, a selection from the longer experimental documentary Headlands Lookout by Jacob Cartwright and Nick Jordan, was awarded the prize for Best Poetry Film at this year’s ZEBRA Poetry Film Festival “For a pre-apocalyptic journey [with] a perfect guide in a stitched uniform into a world that’s going to unravel itself.” Here’s how Jordan describes it on his website:
Walk the path, sit the rains, grind the ink, wet the brush, unroll the broad white space….Lead out and tip the moist, black line.
Gary Snyder’s invocation to the muse of a Chinese scroll painter sets the tone in a short film adapted from Cartwright and Jordan’s longer work, Headlands Lookout.
Filmed in former US military barracks, and in the long-abandoned homes and circular library of Gary Snyder and Zen philosopher Alan Watts, Off the Trail follows a central protagonist, a soldier from another era, as he performs a series of actions and rituals. The uniformed figure paints Chinese nature symbols, chants, meditates and wanders dreamlike through a rolling Californian landscape of fog-shrouded hills, coastal defences and dense woodland valleys. Scenes are accompanied by haiku and poetry readings from Michael McClure and Gary Snyder, and the disembodied voice of Alan Watts, ruminating upon the passage of time and our perception of the ‘wild’.
As someone who studied Japanese and Chinese literature at university, there were parts of this that made me wince — the inept brush calligraphy, for example, and occasionally simplistic or misleading characterizations of Daoist and Buddhist thought — but I do recognize the historical importance of mid-20th-century writers such as Watts and Snyder in bringing East Asian thinking to a Western audience, however colored by Orientalism their versions of it may have been. And there’s no denying the beautiful cinematography and intriguing almost-narrative here, not to mention the innate fascination of the ruins where it was shot.
A poem by the great Marina Tsvetaeva in a film directed by Natalia Alfutova. Be sure to click the CC icon for the English translation by Tony Brinkey. Anastasia Somova (Anastasia Somique) and Artem Tkachenko are the actors, Valeria Ordinartseva co-wrote the script with Alfutova, and Mikael Hamzyan was the cameraman.