Even though I don’t like Charles Bukowski, I love this poetry film by Adrián Suárez, which functions in part as a demonstration of just how much can be packed into (slightly more than) one minute. The production team is pretty much the same as with Instrucciones para cantar / Instructions for Singing, including Juan Carlos Gonzáles as director of photography.
The music in the soundtrack is, as usual, Marc’s own composition. It’s also included on his Timorous Sounds album.
This is Platillo Puro, Spanish director Bruno Teixidor‘s “homenaje en videoarte al poeta hispano-mexicano Tomás Segovia” (homage in videoart to the Spanish-Mexican poet Tomás Segovia). He’s released both color (above) and black-and-white versions. Be sure to click the “CC” icon at the bottom to read the English subtitles—the work of translators Gabriela Lendo and Lucas Laursen, who were close friends of the poet. Also, be advised that the film contains full frontal nudity, so watch with discretion.
The title literally means pure dish, but Bruno told me in an email that it’s from a Segovia poem in which platillo refers to the pan on a balance scale. The voice on the soundtrack is Segovia’s, cinematography is by Thiago Moraes, and the actors are Leila Amat and Rafael de Labra. The two poetry selections are separated by a short statement from the poet about his relationship to the literature world as the credits roll, setting us up for the excerpt from “Anti-Yo” at the very end. All in all, a very effective homage, I thought.
Mikaela Välipakka directed this marvelous videopoem with cinematography and editing by Arttu Soilumo. The poem by Tuija Välipakka is from her 2014 collection Take Away (Paasilinna Publishing). Tuija and and her daughter Mikaela have co-authored a post at Atticus Review, where they describe the film as “the result of cooperation between two movie enthusiasts and a poet.”
Mikaela Välipakka and Arttu Soilumo wanted to create a poem film that is simultaneously dark and surrealistic, surprising and thought-provoking. The starting point was Mikaela’s vision of an empty movie theatre with a man sitting on the middle of the row. Man’s dreams start to stray around him, first slowly and eventually aggressively, trying to wake him up. The poem itself explores the absurdity and randomness of death.
The post continues with a quote from Mikaela Välipakka about her approach to filmmaking:
I start with a certain feeling and after that, scenes start to form in my head. I write them down and shoot these scenes one by one. I usually don’t make storyboards or any other plans, I go by intuition. On the set I get inspired by my model and model gets inspired by me. This creates something magical that can not be planned. Music is also really important to me. I love listening to classical music such as Mozart, Verdi and Gorécki. I put on headphones, close my eyes and my imagination starts to immediately fly. This is something I have been doing since I was a little girl, creating surrealistic and beautiful scenes in my head that I later implement them into ink drawings and short films.
A short film from the teen-aged South African director Nathan Nadler-Nir that tells its own story, contrapuntal to Atwood’s poem in the soundtrack (read by Adrian Galley).
Linda Pastan’s poem, read by Scott Gentle, is featured in this film, Consider the Space, directed by Aaron Kodz and Frida Regaza. This particular upload is from Newintown, but the actual production company was apparently Big Block Live. Henry Zaballos’ cinematography won a 2015 Silver Telly Award. For more credits, see Shoot magazine.
Not surprisingly, considering the directors’ previous clients, this has a bit of the look and sound of a television commercial. But hey, Linda Pastan! The poem was published last year in the Paris Review, and is included in Pastan’s 14th book of poems, Insomnia, due out from Norton in October.
A post in The Inspiration Room quotes Aaron Kodz about the film:
“Consider the space between words on a page” begins the poem by Linda Pastan, and we set out to capture that feeling of the moments that make us. Not the events in our life, but the little spaces in between that develop us into who we are. New York was the perfect backdrop, as it is itself a canvas of 6 million stories. Many of these tales do not make headlines, but even the small, quiet moments in our lives define who we are and what we become. “Consider the Space” explores these little moments in life, and the common threads that bind us all together.”