The best Matthew Barney’s documentary movies
We present our ranking of the best Matthew Barney’s movies. Do you love cinema? Or are you looking for a movie of your favorite actor to watch tonight? Surely you have some to see or that you did not know yet about Matthew Barney.
The Story of Film: An Odyssey
8.4/10
The story of international cinema told through the history of cinematic innovation. Covering six continents and 12 decades, showing how film-makers are influenced both by the historical events of their times, and by each other.
Redoubt
6.7/10
The goddess Diana and her two attendants traverse the rugged terrain of Idaho’s Sawtooth Mountains in pursuit of the elusive wolf. An Engraver (Matthew Barney) furtively documents their actions in copper engravings and provokes a series of confrontations. The characters communicate through dance, letting movement replace language as they pursue each other and their prey.
Blind Perineum
A "video action" in which Barney crosses the ceiling of the Gladstone Gallery using a harness and ice-climbing screws, propelling himself by the forces of muscle and will.
Matthew Barney: No Restraint
5.8/10
How does artist Matthew Barney use 45,000 pounds of petroleum jelly, a factory whaling vessel and traditional Japanese rituals to create his latest art project? Barney plowed the waters off the coast of Nagasaki to film his massive endeavor, Drawing Restraint 9. The documentary Matthew Barney: No Restraint journeys to Japan with Barney and his collaborator Bjork, as the visual artist creates a "narrative sculpture" telling a fantastical love story of two characters that transform from land mammals into whales.
The Body as Matrix: Matthew Barney's Cremaster Cycle
With the five-part Cremaster Cycle of films, multi-award-winning artist Matthew Barney invented a densely layered and interconnected sculptural world that surreally combines sports, biology, sexuality, history, and mythology as it organically evolves. In this program, Barney, Guggenheim curator Nancy Spector, and others deconstruct the Cycle’s filming and subsequent translation into sculptural installations. The locations, characters, and symbols that organize the Cycle films; the Cycle installations as spatial content carriers and extensions of the performances; and objectification of the body and undifferentiated sexuality are addressed, as are the intricacies of costuming, makeup, and sculpting with Barney’s signature materials: plastic, metal, and Vaseline.
