Last exit to Luton by Fran Lock

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A “filmpoem by Alicja Pawluczuk. Commissioned in collaboration with Alastair Cook and Filmpoem,” according to a page for the poem at The Poetry Society’s website. “Last exit to Luton” by Fran Lock was the Third Prize winner in the UK’s 2014 National Poetry Competition. Click through and scroll down for more on the poet.

No Table Anymore Wankers by Ross Sutherland

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Another of Ross Sutherland‘s quick-and-dirty videopoems for his “30 Videos/30 Poems” digital residency at The Poetry School. I love his process here. This is videopoeming at its purest:

A piece of graffiti I found on the side of the law courts in Newcastle (just around the corner from my hotel). I have no idea why anyone would write this (which automatically makes me want to write it myself). I quickly wrote down some notes in my jotter & tried to extend the moment a little bit longer.

I recorded image first, then sound after, then put the two back together.

Mother by Tim Atkins

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One doesn’t tend to expect an ecofeminist poetry film from a male director and poet, but Graeme Maguire and Tim Atkins have given us just that. Here’s Maguire’s description on Vimeo:

DIRECTOR: Graeme Maguire
POETRY: Tim Atkins
SOUNDS: Paul D. McDowell
STARRING: Sarah Maguire, Gordon Raphael, Annie Gardiner, Sheridan Lunt and ‘Bump’
ASSISTANCE: James Sharkk
PROPS: Valerie Snelgrove
THANKS TO: Band Films, Bristol

MOTHER is a short film shot on super-8 and contains no dialogue. It is accompanied by a poetic interpretation by Tim Atkins and a guitar sound track by Paul D. McDowell. It is the story of a heavily pregnant woman on her journey towards birth. She carries a piece of paper inscribed with a symbol. Exhausted, she searches for the origins of the symbol in the hope of finding help. What she finds is more powerful than she could ever have imagined.

The starting point for Mother was the word ‘translation’. The film is about the medicalisation of birth and the ever-present persecution of midwives (witches). It symbolically tackles the issues of consent, control and blind trust in the male authoritarian within the medical institution. Mother is about the destruction of this institution by the ultimate power of nature.

Halloween by Hugo Claus

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UPDATE (3 Oct. 2015): Swoon has re-edited the English version, replacing the Jovan Todorovic film clip with footage by Jan Eerala.


Belgian artist Marc Neys A.K.A. Swoon recently released two entirely different films for a poem by his great countryman Hugo Claus: “a ‘European Dance-version’ (using Hugo’s reading from Lyrikline) and an ‘American Road movie version’ using a fantastic reading Michael Dickes made from the English translation by John Irons,” as he put it in a blog post.

The visual idea for the Dutch version came to me watching a great series of short videos by dancer/artist Nadia Vadori-Gauthier: One Minute of Dance a Day:

‘since January 14, 2015, I’ve been posting one minute of dance to this blog every day, simply, without editing or effects, in the place and state of mind I find myself that day, with no special technique, staging, clothing, or makeup, nothing but what is there.’

I asked if I could use one of her ‘minutes’ (2 février 2015 – 20e danse) for this videopoem. I could.
I simply adore this combination of Hugo’s poem, his voice and her dancing in the snow.
Enjoy! (There’s also a version with French subtitles:


The source of the ‘road movie’ version is a music video by the collective ESNAF
Their video for ‘The Long Haul’ by NO (cinematography by Jovan Todorović) had all the ingredients I needed for the English version of the poem. I believe the little storyline is the perfect match for the poem and Michael Dickes’ reading.

Frangipani Grove by Cindy St. Onge

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Nic Sebastian has remixed a video of a horse and rider by Gregory Latham with a Poetry Storehouse poem about what endures after the death of planets by Cindy St. Onge. Somehow it works—for me, at any rate. I’m not crazy about the music (which is by David Mackey) and I think I might’ve preferred St. Onge’s own reading at the Storehouse to Sebastian’s. But the juxtaposition of images is strong and surprising enough to make up for that.

Sueños Culinarios (Culinary Dreams) by Pedro Mercado

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This is Sogni Culinari, a humorous, surreal poetry film by Venezuelan director Clarissa Duque and AWA Producciones, based on a poem by her friend Pedro Mercado. The actors are Nabilia Gąnem and Javier Figuera, and the recitation is by Luigi Sciamanna. The Italian translation is by Marco Baldo and the English by Lorenzo Duque. There’s also a version with subtitles in the original Spanish.

For the full credits, see Vimeo or the film’s own website. Sogni Culinari also has a Facebook page and a Twitter account (which is how I found out about it). It’s kind of cool to see a surrealistic short getting this much promotion and publicity. And why not? It’s very well done, and they clearly spared no effort in the production. Duque talked about it on the blog Directors Notes. I was especially interested to hear how her script expanded on the text with details from her own dreams:

The idea for Sogni Culinary began once I read a poem written by my friend Pedro Mercado. That poem is recited exactly as in the original by the character of the dreaming man as voice over throughout the film. The very first time I listened to the poem, I felt bombarded by different images and sensations. One of the first ones that came up in my mind was that feeling when a great love breaks your heart and leaves it behind like pieces of waste laying on the ground. Everybody has felt at least once in their life that terrible sensation of emptiness produced by an unrequited love.

Alongside that is my passion for the culinary arts. I learned when I was still a child how every single ingredient of a dish is like a magic recipe, itself capable of activating every human sense and evoking all kinds of sensations in the human body. My father, a great cook, always used his skill as a tool to get what he desired. He was able to close great deals after his partners, captivated by the sensitivity and power of his food, would accept any proposition my father made to them. Never the less, he also managed so many times to solve romantic problems with delicious banquets. I always thought that he was a kind of magician. With time, I understood that love and food, even though they can also be my weakest points, will always be the greatest passions in my life.

Since my childhood, my oneiric world has been very intense. I wake up from nightmares very often where I am a fish and I end up dying asphyxiated outside of the fishbowl. The people around me, trying to calm me down always tell me “It was just a dream”. Therefore, this time with my new short film I couldn’t miss the opportunity to transmit not only my two greatest passions in life (Love and Food) but also a part of my own oneiric world. I have to confess, filming the scene of the fish was very stressful, even more so because lately I’ve been working for animal rights.

The production of Sogni Culinary was just wonderful. It was January 2015 and we didn’t have any money but we were all looking forward to starting the new year working on a new project, but not those that you don’t like but take to pay the rent. We actually wanted to start working on a project that you get really passionate about and involved with. We wanted to make cinema, so I gathered a group of friends and proposed that we start working without a budget but all together for this culinary dream. Luckily, everything that was needed came along. Rental company Pata Negra let us use a Red One camera, an optic kit, a dolly and lights with all their accessories. As we say in Venezuela “Now we got all the toys”. The crew from Artecomestible made the food makeup which was very rigorous work with lots of attention to detail. The shooting was very pleasant, even though it lasted for a very long day from 6.00am in the morning till 2.00am of the following day. Actually, we’re a tight crew so, when we are at work filming on the plateau, we feel like a fish in the water (literally).

Filming real food can turn out to be a very difficult art. The hardest shot we did was with the meatball, trying to make it bleed in a Tarantinoesque style. The hose placed inside the meatball got blocked many times by the fork, then we had to shoot it several times until it finally worked and looked just as I had dreamed. We knew from the beginning that we could achieve all the special effects that we wanted in post-production. For example; the water falling down from the paintings hung on the walls. Glendis Lopez and I have worked together in art direction many times and now we know that we don’t want to lose the sense of reality and handcraft in our productions. We like to keep the old school style. Still, it was very complicated for her and Filou Frechou to build the scenography with the system of pipes behind the walls but as expected, it turned out to work perfectly and we only had to repeat the shots twice.

Read the rest (and watch the “making of” video).

Late Fragment by Raymond Carver

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This is Último Fragmento, Spanish director Eduardo Yagüe‘s film based on a brief poem by Raymond Carver. The actors are Pau Vegas and Faustino Fernández, and the music is by Swoon. It’s the final film in a series of eight that Yagüe calls La Luz Tenaz.

LA LUZ TENAZ es una serie de ocho vídeos en los que investigo con los lenguajes de la poesía, el cine, la actuación, la música, la fotografía… Mezclo los géneros, experimento, busco la manera de contar las historias que los poemas que uso como inspiración me sugieren, creando una obra nueva y personal.
[THE TENACIOUS LIGHT is a series of eight videos in which I investigate the language of poetry, film, acting, music, photography… I mix genres, experiment, look for ways to tell the stories that the poems I use as inspiration suggest to me, creating a new and personal work.]