The best Marian Zazeela’s movies
Today we present the best Marian Zazeela’s movies. If you are a great movie fan, you will surely know most of them, but we hope to discover a movie that you have not yet seen … and that you love! Let’s go there with the best Marian Zazeela’s movies.
Andy Warhol Screen Tests
The films were made between 1964 and 1966 at Warhol's Factory studio in New York City. Subjects were captured in stark relief by a strong key light, and filmed by Warhol with his stationary 16mm Bolex camera on silent, black and white, 100-foot rolls of film at 24 frames per second. The resulting two-and-a-half-minute film reels were then screened in 'slow motion' at 16 frames per second.
Flaming Creatures
4.6/10
Filmmaker and artist Jack Smith described his own film as a “comedy set in a haunted movie studio.” Flaming Creatures begins humorously enough with several men and women, mostly of indeterminate gender, vamping it up in front of the camera and participating in a mock advertisement for an indelible, heart-shaped brand of lipstick. However, things take a dark, nightmarish turn when a transvestite chases, catches and begins molesting a woman. Soon, all of the titular “creatures” participate in a (mostly clothed) orgy that causes a massive earthquake. After the creatures are killed in the resulting chaos, a vampire dressed like an old Hollywood starlet rises from her coffin to resurrect the dead. All ends happily enough when the now undead creatures dance with each other, even though another orgy and earthquake loom over the end title card.
John Cale: An Exploration of His Life & Music
Follows John Cale, a Welsh musician and producer, who founded the legendary 60s and 70s NY rock band - the Velvet Underground, with Lou Reed. Cale delved into other mainstream and experimental music genres as well.
The Well-Tuned Piano In The Magenta Lights
For those who know the out-of-print Gramavision 5-hour, 5-CD release of the 1981 performance of The Well-Tuned Piano, this Just Dreams 401-minute DVD of the entire 1987 performance is the inevitable complement. The continually expanding composition now includes more musical material than even La Monte Young can play in one setting. Together, the 1981 release and the 1987 video provide a much more comprehensive perspective of the scope and complexity of the work.
