What is the Avant-Garde
The avant-garde is an extreme artistic movement, unconventional with respect to the dominant art, society, or culture. The avant-garde pushes the limits of what is accepted as standard, mainly in the cultural world. It is regarded as a trademark of modernism. Numerous artists have aligned themselves with avant-garde movements and continue to do so, tracing history from Dada through the Situationist and postmodern artists. The avant-garde promotes social reforms not accepted in society or still perceived as utopian. In reality, the avant-garde, with the passage of time, seems only an artistic current that anticipates the times and fights on the front line to create the new. The power of the arts is undoubtedly the fastest method for social, political, and financial reform.
The term “vanguard” was initially used by the French Army to describe a small reconnaissance group that went ahead. At one point in the mid-19th century, the term was linked to art through the idea that art is a tool for social modification. Toward the end of the century, the avant-garde began to shift away from its association with leftist social causes to become more aligned with creative and cultural concerns. This trend toward a greater focus on such issues has continued to this day. Avant-garde today usually describes groups of authors, artists, and intellectuals who give voice to ideas and try creative methods that challenge existing cultural values. The concepts of the avant-garde, particularly if they address social problems, are generally slowly absorbed by societies. Yesterday’s avant-gardes end up becoming mainstream in the following decades, creating the environment for a new generation of avant-gardes to emerge.
Avant-Garde and Tradition
The avant-gardists may possess certain qualities that manifest in a non-conformist lifestyle. Fake mass culture is constantly produced by replicating models from a newly emerged cultural market and leveraging the success of some avant-garde techniques. This is frequently seen in cinema, where groundbreaking films that the mainstream industry would have never conceived become blockbusters and are then replicated into commercial products. The entire realm of popular streaming TV series is founded on this principle: analyzing data and recycling artistic works that have gained public approval, resulting in the dilution of language to a mass level and a more enticing presentation.
Sales figures have overtaken creative quality as the primary indicator of success: a novel is now assessed by its best-seller status; music rules the charts with gold record achievements, and cinema gains recognition through Oscars and major film festivals dominated by the political-cultural elite. This change has led to the forsaking of the creative independence once valued by the avant-garde, with sales figures becoming the ultimate proof of success. Customer culture now dominates every art form. The integration of the avant-garde into global market capitalism, neoliberal economies, and what Guy Debord labeled The Society of the Spectacle—a critical text from the Situationist movement addressing the “autocratic reign of the market economy”—prompts questions about the existence of a true avant-garde today. Paul Mann’s Theory-Death of the Avant-Garde demonstrates how the avant-garde is now fully intertwined with institutional frameworks.
Numerous sectors of the mainstream culture market have misapplied the term “avant-garde” given that in the 1960s it was primarily used as a marketing tool to advertise industrial music and cinema. It has actually become standard to describe popular rock artists and filmmakers as “avant-garde,” and the word has been stripped of its proper meaning. From the mid-1960s onwards, avant-garde culture ceased to fulfill its previous antagonistic function. Since then it has been flanked by ghosts of the avant-garde on the one hand and a changing mass culture on the other, with which it connects to varying degrees.
The European Cinematic Avant-Gardes of the 1920s
In the 1920s a vast panorama of experimentation of European cinema was born by artists from other artistic disciplines such as Cubism, Dadaism and Surrealism, who made important contributions to the development of the nascent cinematographic art: avant-garde cinema.
Avant-Garde Cinema: Futurism
Futurism was an Italian social and artistic movement in the early 20th century. It emphasized dynamism, speed, innovation, youth, violence, and aspects like the automobile, the airplane, and the modern city. Key figures included Italians Filippo Tommaso Marinetti, Umberto Boccioni, Carlo Carrà, Fortunato Depero, Gino Severini, Giacomo Balla, and Luigi Russolo. Italian Futurism celebrated modernity and aimed to liberate Italy from the burden of its past. Essential Futurist works featured Marinetti’s 1909 Manifesto of Futurism, Boccioni’s 1913 sculpture Unique Forms of Continuity in Space, Balla’s 1913-1914 painting Abstract Speed + Sound, and Russolo’s The Art of Noises (1913).
Futurism was mostly an Italian phenomenon, but parallel movements emerged in Russia, where some Russian futurists would later form their own groups. Other nations either had few futurists or had movements inspired by futurism. Futurists worked in every artistic medium: painting, sculpture, ceramics, graphics, advertising, interior decoration, theatre, cinema, textiles, literature, music, architecture, and even cooking. To some extent, Futurism influenced the art movements Art Deco, Constructivism, Surrealism, and Dada, and to a greater extent, Precisionism, Rayonism, and Vorticism.
Futurism and Cinema
Italian futurism was notably enthusiastic, even declaring that the essence of cinema itself was futurist: rhythm and abstract forms were to lead the new creations, with narrative taking a backseat. Despite this, the Futurists produced only a few films, and most of them have been lost; Thaïs or Perfidious intrigue (1917) by Anton Giulio Bragaglia are the sole surviving futurist films. Their daring concepts helped establish the groundwork for later artistic movements.
Avant-garde cinema: Abstractionism
Abstract art employs the visual language of shape, line, and color to create a structure that exists independently of global visual references. Since the Renaissance, Western art has focused on perspective and the depiction of apparent truth. By the late 19th century, many artists sought to create a new form of art that embraced contemporary scientific and innovative changes. Terms such as abstract, non-figurative, non-objective, and non-representational art are related, though not identical in meaning. Abstraction implies a move away from realism in artistic representation, which can range from slight to complete deviation.
Even art that strives for verisimilitude to the highest degree can be said to be abstract, at least in theory, since ideal representation is difficult. It can be argued that a work of art that takes liberties, for example by changing the color, is partly abstract. Total abstraction bears no trace of any inspiration to anything identifiable. In geometric abstraction, for example, references to naturalistic entities are unlikely to be discovered. Figurative and metaphorical art often consists of partial abstraction. Both geometric abstraction and lyrical abstraction are often absolutely abstract. Among the very many art movements that embody partial abstraction are for example Fauvism in which color is noticeably and intentionally modified with respect to truth, and Cubism, which modifies real-life entities illustrated.
Abstractionism and Cinema
Abstractionism embraced avant-garde cinema to the extreme, favoring abstract shapes and pure motion. Its pioneer was the Russian artist Vassilij Kandinsky. Abstract cinema originated in Germany during the same period as expressionism and kammerspiel. The filmmakers crafted movies with no resemblance to reality, featuring geometric and abstract forms that moved rhythmically across the screen. Hans Richter’s Rhytmus 21 (1921) was the inaugural film of this style.
The film’s exploration of movement, time, rhythm, and light reflects the German director’s investigation into the fundamental essence of cinema, capturing its purest, non-industrial form. This was followed by Rythmus 23 (1923) and Rythmus 25 (1925). Meanwhile, Swedish artist Viking Eggeling competed with his German counterpart by creating Diagonal Symphony, another seminal piece of abstract cinema.
Another abstract avant-garde cinema artist was Walter Ruttmann, with works like Lichtspiel Opus I, Lichtspiel Opus II, Ruttmann Opus III, and Ruttmann Opus IV, films of lights in motion. He would later abandon abstract cinema to create documentaries, such as Berlin – Symphony of a Great City (1926) and Melody of the World (1929), inspired by the films of Dziga Vertov.
Halfway between abstract cinema and Dadaism is the work of Marcel Duchamp, Anémic Cinéma (1926): 19 rotating optical discs, 10 composed of geometric figures and nine decorated with meaningless phrases. Duchamp called them rotorilievi. Assisting him in making this film was the painter and photographer Man Ray, who had created Retour à la raison a few years earlier using the technique of rayography that he invented himself: he exposed objects in contact with photographic paper or film to create images without using a camera.
Cubism
Cubism is an early 20th-century avant-garde art movement that reinvented European painting and sculpture and influenced related movements in music, architecture, and literature. In Cubist artwork, objects are analyzed, fragmented, and reassembled in an abstract manner: instead of depicting them from a single viewpoint, the artist represents the subject from a multitude of perspectives to convey it in a greater context. Cubism has been regarded as the most important art movement of the 20th century. The term is widely used in reference to a broad range of artworks created in Paris during the 1910s and 1920s.
The movement was conceived by Pablo Picasso and Georges Braque and endorsed by Jean Metzinger, Albert Gleizes, Robert Delaunay, Henri Le Fauconnier, Juan Gris, and Fernand Léger. One effect that Cubism caused was the representation of a three-dimensional style in the later works of Paul Cézanne. A retrospective of Cézanne’s paintings was held at the 1904 Salon d’Automne, and existing works were exhibited at the 1905 and 1906 Salon d’Automne, followed by two celebratory retrospectives after his death in 1907. In France, similar movements were established to Cubism, consisting of Orphism, Abstract Art, and later Purism.
The effect of Cubism was complete and significant. In France and other nations, Futurism, Suprematism, Dada, Constructivism, Vorticism, De Stijl, and Art Deco established themselves in reaction to Cubism. Early Futurist paintings retain Cubism’s fusion of the past and present, the representation of various visions of the subject, while Constructivism is influenced by Picasso. Other typical elements of these different movements are the faceting or simplification of geometric figures and the association of mechanization and modern life.
Cubism and Cinema
The Cubist movement quickly became interested in avant-garde cinema. The painter Fernand Léger filmed Ballet Mécanique in 1924. Lacking a plot or story, it focused solely on the rhythms of bodies and objects in motion. Cinema departed from reality and concrete narratives. The meaning of these films lies in the rhythmic dance of images, sounds, and light through the montage.
Dadaism
Dadaism was a European avant-garde art movement in the early 20th century, with initial centers in Zurich, Switzerland, at the Cabaret Voltaire in 1916. Dadaism began in New York City in 1915, and after 1920, it developed in Paris. Dadaist activities lasted until the mid-1920s. Established in response to World War I, the Dada movement included artists who rejected the reasoning and aestheticism of modern capitalist society, reflecting an anti-bourgeois outlook in their works. Dada artists expressed their discontent with war, nationalism, and violence, and maintained political affinities with far-left politics.
Dada’s roots lie in pre-war progressivism. The term anti-art, a precursor of Dada, was created by Marcel Duchamp around 1913 to define works that challenge the accepted meanings of art. Cubism and abstract art bear witness to the movement’s detachment from the constraints of reality and convention. The work of French poets, Italian Futurists, and German Expressionists influenced the Dadaist rejection of the close connection between words and meaning.
In France, there was the Dadaist movement led by Tristan Tzara, with a much more radical and subversive aesthetic and ideas. Dadaism embraced anarchy, nihilism, the pursuit of freedom of expression, and the rejection of any meaning or final purpose. It gave us some masterpieces that captured the attention of the artistic world at the time, including René Clair’s film “Entr’acte” (1924), a film-intermission between two acts of a live dance show. Here too, we find the rejection of any narrative and the attempt to delve into the roots of cinematographic art: the viewer is simply led into the joy of life and the act of seeing.
Avant-Garde Cinema: Surrealism
The absolute lack of rules and rejection of conventions, however, led Dadaism to a crisis, and the movement broke up in 1923. Surrealism was born from its ashes, finding in cinema one of its most powerful means of expression. André Breton, the founder of the movement, and all his colleagues were interested in the dream world, in everything that manifests itself in the unconscious and outside the ordinary meanings of the world, in the automatic associations of ideas that occur beyond consciousness, in what happens after the loss of any rationality or thought control.
Surrealism is a cultural movement that was established in Europe after the First World War, where artists depicted illogical and disturbing scenes, using strategies to allow the unconscious mind to reveal itself. Its goal was, according to leader André Breton, to “confront the previously inconsistent conditions of dream and reality in an absolute truth, a super-reality,” or surreality. This movement has produced works in painting, literature, theatre, cinema, photography, and other media. Numerous surrealist authors and artists consider their work an expression of the “pure psychic automatism” of which Breton speaks in the first Surrealist Manifesto.
Breton was specific in his assertion that Surrealism was, above all, an innovative movement. At the time, the movement was related to political causes such as communism and anarchism. He was influenced by the Dada movement of the 1910s. The term “Surrealism” comes from Guillaume Apollinaire in 1917. The Surrealist movement was not formally developed until after October 1924, when the Surrealist Manifesto published by the French poet and critic André Breton succeeded in declaring the movement avant-garde. The crucial center of the movement was Paris. From the 1920s onwards, the movement spread throughout the world, influencing the visual arts, literature, cinema, and music of numerous nations and languages, together with political ideas and practices, points of view, and social theory.
Surrealism and Cinema
Spanish director Luis Buñuel and painter Salvador Dalí collaborated in 1928 to create “Un Chien Andalou,” a film destined to mark a turning point in the history of cinema. It is a dreamlike and psychoanalytic journey into the most incomprehensible meanders of the human psyche that can have multiple interpretations and meanings. Surrealism, unlike other previous art movements, creates a new and personal language rather than destroying previous models. Nihilism and anarchy leave room for more traditional narrative codes, but these are used for different purposes: not to reassure and lead the viewer to a specific destination, but to make them lose any reassuring point of reference.
In 1930, Buñuel and Dalí gave life to a new film, getting even closer to the classic narration of a story: L’âge d’or. The Spanish director laid the foundations and initiated the first experiments of what would become his obsession throughout his career: the attack on bourgeois institutions such as the church, the army, and the state.
Other surrealist films include La Coquille et le Clergyman (1928) and the first film by Jean Cocteau (1930). L’Atalante by Jean Vigo, who died in the same year at only 29, marked the end of surrealist cinema. His death marked the end of surrealist cinema. The mix of avant-garde style and the acceptance of rules to subvert them or use them in opposite directions made surrealist cinema the most successful and interesting experiment among all the avant-gardes, with an influence that lasts until today.
Avant-Garde Films to Watch
Here is a selection of the best avant-garde films that you absolutely must see: a highly prolific genre with a vast filmography that spans the entire history of cinema.
Un Chien Andalou (1929)
Un Chien Andalou is a 1929 French silent short film directed by Luis Buñuel and written by Buñuel and Salvador Dalí. It was Buñuel’s first film and was initially shown at the Studio des Ursulines in Paris, eventually gaining popularity and running for eight months. Un Chien Andalou has no plot in the traditional sense of the word. With its disjointed chronology and time jumps, it is a surrealist dream film based on Freudian association. Un Chien Andalou is a seminal work in the category of surrealist cinema.
Man with a Movie Camera, 1929
“Man with a Movie Camera” is an innovative documentary released in 1929, hailing from the Ukrainian Soviet film industry. This pioneering work was directed by the visionary Dziga Vertov, who collaborated closely with his brother, Mikhail Kaufman, who took on the role of cinematographer, and his wife, Yelizaveta Svilova, who skillfully handled the film’s editing. This cinematic masterpiece uniquely forgoes conventional storytelling elements like actors, instead offering an authentic portrayal of Soviet life from morning to night. Throughout the day, ordinary citizens reveal the rhythm of their lives, both in their professional environments and during leisure activities, all through the lens of the era’s cutting-edge technology. Vertov’s film is particularly renowned for its groundbreaking use of a multitude of cinematic techniques, demonstrating his unparalleled creativity and innovative approach to filmmaking. These techniques include multiple exposures, which layer images to create a surreal narrative dimension, as well as fast and slow motion, which manipulate time to heighten the viewer’s experience. The film also employs freeze frames to arrest movement at pivotal moments, creating a snapshot in time. Furthermore, the use of match cuts and jump cuts creates a dynamic narrative flow, while split screens and Dutch angles infuse the film with visually arresting perspectives. Tracking shots from varied angles offer a fluid exploration of space, and the introduction of reversed video sequences challenges traditional narrative forms. The stop animation sequences further add to the film’s avant-garde spirit, while self-reflexive images invite viewers to reflect on the nature of cinema itself. It would indeed be a challenge to find a work more avant-garde than this seminal film, which remains a benchmark in the world of documentary filmmaking.
The Fall of your home of Usher (1928)
“The Fall of the House of Usher” (1928) is a brief silent horror film adaptation based on the 1839 short story “The Fall of the House of Usher” penned by the renowned author Edgar Allan Poe. This cinematic piece was the collaborative effort of co-directors James Sibley Watson and Melville Webber, showcasing performances by Herbert Stern, Hildegarde Watson, and Melville Webber himself. The narrative unfolds around a brother and sister residing in a house steeped in a malevolent curse. This avant-garde film spans merely 13 minutes and places a strong emphasis on its visual storytelling, characterized by a series of scenes captured through prisms, which serve to create optical distortions and enhance the surreal atmosphere. Though the film lacks spoken dialogue, it intriguingly weaves letters written in the air across the screen in at least one scene, adding a unique element to its storytelling technique.
The Fall of the House of Usher (1929)
“The Fall of the House of Usher” is a chilling horror film directed by Jean Epstein. It stands out among the many cinematic adaptations inspired by Edgar Allan Poe’s 1839 gothic literary masterpiece, “The Fall of the House of Usher.” The plot centers around Roderick Usher, who invites his close friend to visit his ancestral estate, a decaying and isolated mansion set in the remote countryside. The atmosphere of the house is eerie and steeped in mystery, amplifying the unnerving tension that pervades the story. Roderick has been deeply engrossed in capturing the likeness of his late wife, Madeline, through a portrait, consumed by both his grief and his art. His obsession with Madeline’s memory manifests in the haunting piece he paints, a testament to his enduring love and sorrow. Tragically, Madeline is believed to have passed away, leading Usher to inter her in the family crypt, a dark and foreboding place that conceals more than just the deceased. However, the story takes a spine-chilling turn when it is discovered that Madeline was not truly dead but had suffered from catalepsy, a condition that mimics death. Buried alive, she astonishingly awakens in her tomb and manages to escape the suffocating confines of her coffin. Her miraculous return to the land of the living is both terrifying and awe-inspiring as she confronts her husband Roderick, who is left in utter shock at the sight of his wife walking back to him as if resurrected from the grave. This revelation unravels the final threads of sanity within the Usher household, culminating in a profound climax that reflects the story’s exploration of madness, mortality, and the supernatural.
L’Age d’Or (1930)
L’Age d’Or is a distinctive 1930 French surrealist satirical film directed by Luis Buñuel, which delves into the absurdities and chaotic nature of modern life. The film critiques the mundane routine of daily existence, while also unmasking the duplicity inherent in the sexual morals upheld by bourgeois society. Additionally, it offers a pointed examination of the value system endorsed by the Catholic Church. Much of the narrative unfolds through the use of title cards reminiscent of the silent film era, adding a unique texture to its storytelling approach. The screenplay, a collaboration between Buñuel and the visionary surrealist artist Salvador Dalí, intertwines their creative genius to challenge and provoke the audience’s perception of social norms.
About Nice (1930)
The film is a brief documentary production from the year 1930, masterfully directed by Jean Vigo and captured through the lens of Boris Kaufman. This evocative piece of cinematic art paints a vivid portrait of life in the vibrant city of Nice. Viewers are taken on a mesmerizing journey as the documentary skillfully observes individuals going about their daily lives, depicting their diverse routines and highlighting the unique character of the city through their interactions. Within this visual narrative, the film exquisitely captures the striking imagery of a colorful and lively carnival, showcasing the animated exuberance and cultural festivities of Nice. Yet, amidst this jubilant atmosphere, the documentary doesn’t shy away from emphasizing the existing social inequalities that define the urban landscape, subtly urging viewers to reflect on these disparities. It stands out as Jean Vigo’s inaugural venture into filmmaking, marking the beginning of his significant contribution to the art form. With Kaufman’s expert cinematography, the film remains a poignant exploration of the human experience within the richly historic backdrop of Nice, engaging audiences with both its beautifully crafted scenes and its insightful social commentary.
Enthusiasm: The Symphony of Donbas (1931)
Enthusiasm: The Symphony of Donbas is a pioneering 1931 avant-garde cinematic work helmed by Soviet director Dziga Vertov. This influential film marked a significant milestone in the director’s career as his inaugural venture into sound filmmaking. In creating the auditory experience for the film, Vertov crafted an innovative soundtrack predominantly composed of the rhythmic and mechanical sounds emanating from industrial factories along with a variety of other ambient noises. Notably, the incorporation of human speech was minimal, intentionally allowing the symphony of machinery and environmental sounds to take center stage. This creative choice highlights Vertov’s dedication to exploring the potential of sound in enhancing the narrative and atmosphere of his visual art.
The Blood of a Poet (1931)
“The Blood of a Poet” is an innovative and groundbreaking film belonging to the avant-garde movement, masterfully directed by the renowned Jean Cocteau. This unique cinematic piece was made possible through the financial support of Charles de Noailles, a well-known patron of the arts. The film features a compelling performance by the actor Enrique Riveros in the leading role. As the initial installment of the captivating Orphic Trilogy, this film sets the stage for a deeper exploration of mythic and poetic themes. The trilogy is characterized by its artistic and symbolic storytelling, continuing with “Orphée” in 1950, which delves further into the blurred lines between reality and artistry, and reaching its profound conclusion with “Testament of Orpheus” in 1960, which reflects on Cocteau’s own career and the nature of creativity itself.
Zero for Conduct (1933)
Zéro de conduite, released in 1933, is a notable French avant-garde cinematic piece directed by the distinguished Jean Vigo. This film had its inaugural screening on April 7, 1933, but shortly thereafter, it faced censorship and was banned in France, remaining so until November 1945, a testament to its provocative nature. The narrative of the film intricately draws upon Vigo’s own experiences at a boarding school, where he poignantly depicts a rigid and oppressive academic environment. This setting is used as a backdrop for surreal and anarchic acts of defiance, capturing Vigo’s rebellious and anarchist perspective on youth and authority. Although Zéro de conduite was not met with commercial success upon its initial release, it has nonetheless become a fundamentally significant work in the history of cinema. Its influence is particularly notable, having inspired acclaimed filmmaker François Truffaut, who drew from its themes and stylistic elements for his own celebrated work, The 400 Blows, released in 1959. Through its enduring legacy, Zéro de conduite continues to be a critical reference point for discussions on cinematic innovation and the portrayal of youthful rebellion.
The Hearts of Age (1934)
The Hearts of Age is a pioneering short film crafted during the fledgling career of the illustrious filmmaker Orson Welles. This eight-minute cinematic piece, brought to life under the collaborative direction of Welles and his esteemed friend William Vance, emerged in the year 1934. Central to the film’s narrative are performances by Welles and his first wife, the talented Virginia Nicolson. Welles undertook this creative venture while residing as a student at the Todd School for Boys, located in the quaint town of Woodstock, Illinois. At the mere age of 19, Welles embarked on this artistic endeavor, sowing the seeds for his future in the world of cinema.
Meshes Of The Afternoon (1943)
A woman named Maya Deren is walking along the street, making her way back to her own home. During her journey, she notices a person standing there, perhaps just a passerby. Once she reaches her house, the man, who may have been a stranger or someone familiar, decides to sit and rest in a chair, succumbing to sleep. As soon as slumber overtakes him, he finds himself enveloped in a dream, vivid and mysterious. Within this dream, he is compelled to pursue an enigmatic hooded figure, which possesses the unsettling feature of having a mirror in place of a face. This pursuit, however, is in vain, as he finds himself unable to ever quite reach the elusive figure. Each unsuccessful attempt brings him back to the familiarity of his own home, filled with the comforting yet haunting presence of numerous household items: a bread knife glinting on the countertop, a telephone silent on its hook, a flower in vibrant bloom, and the phonograph, spinning tales of music and time. Intriguingly, the woman herself follows the hooded figure as if drawn by fate or curiosity, leading her into the intimacy of her bedroom. There, she spies the figure engaged in a secretive act, tucking the bread knife with imagined menace beneath the pillow, perhaps leaving a foreboding message or a hidden symbol of dreams themselves.
Maya Deren is a renowned avant-garde filmmaker, celebrated for her innovative contributions to the world of cinema, particularly during the mid-1940s. Among her various groundbreaking works, she is most famously associated with the highly experimental short film from 1943, “Meshes of the Afternoon.” This film is recognized for its bewilderingly surreal exploration of the elusive and ephemeral nature of dreams, presenting a narrative that is both disorienting and hypnotic. “Meshes of the Afternoon” has achieved considerable acclaim for its imaginative approach and has been acknowledged as a significant source of inspiration for contemporary directors, including the influential filmmaker David Lynch, who is known for his own unique and dream-like narratives that echo the pioneering spirit demonstrated in Deren’s work. Maya Deren’s legacy continues to live on as a pivotal figure in the evolution of cinematic art, her films serving as a enduring testament to the power of experimental storytelling.
Dementia (1955)
Dementia is an American avant-garde horror film presented in black and white, crafted by the visionary filmmaker John Parker. The movie stars Adrienne Barrett and Bruno Ve Sota. This intriguing and unique film stands out due to its lack of dialogue, focusing instead on visual storytelling to convey the haunting journey of a young woman. As she navigates her terrifying and surreal experiences during a single, spine-chilling night in Los Angeles, the audience is drawn into a world where reality blurs with nightmare. The film is notable for its stylistic blend, incorporating elements of horror, noir, and expressionism, creating a distinctive atmosphere that captivates and unnerves viewers. Originally conceived as a short film, Dementia was brought to life by the writer-director Parker. The inspiration behind the film’s narrative originated from a dream, vividly described to Parker by his secretary, Adrienne Barrett, who would go on to play the lead role. This dream-fueled vision allowed Parker to explore the depths of psychological and surreal horror, demonstrating his ability to transform the abstract into a tangible, unforgettable cinematic experience.
A Story of Water (1958)
“A Story of Water” is an avant-garde short film crafted with the artistic collaboration of two groundbreaking filmmakers, Jean-Luc Godard and François Truffaut. Released in 1958, the film offers a unique visual and narrative journey, portraying the adventure of a young lady as she endeavors to reach Paris, all while navigating through an unusually expansive and flooded landscape. The urgency of her quest is matched by the surreal beauty of the submerged surroundings, reflecting a world transformed and enveloped by water. The creative vision of Godard and Truffaut unfolds over the course of just two days of filming, infusing the piece with a sense of spontaneity and raw creativity. In a nod to the pioneering days of film comedy, “A Story of Water” is lovingly dedicated to Mack Sennett, the legendary master of slapstick whose influence echoes through the playful and innovative spirit of the film.
Shadows (1959)
“Shadows” is a pivotal independent film directed by John Cassavetes, completed in 1959, which delves into the nuanced complexities of race relations during the Beat Generation era in New York City. Featuring an impressive cast, the movie stars Ben Carruthers, Lelia Goldoni, and Hugh Hurd, portraying three siblings of African American descent. Intriguingly, only one of the brothers possesses a skin tone dark enough to meet societal perceptions of being African American, making their story unique and deeply compelling. Initially filmed in 1957 and shown in 1958, the initial reception was lukewarm, prompting Cassavetes to undertake substantial reshoots before releasing it in 1959. Esteemed film scholars regard “Shadows” as a monumental turning point in the history of American independent cinema, marking a shift in narrative and production style. The film gained impressive recognition beyond US borders, clinching the prestigious Critics Award at the Venice Film Festival in 1960, affirming its international acclaim and impact on the cinematic landscape.
Last Year At Marienbad (1961)
The 1961 film is a remarkable French-Italian collaboration that stands as a quintessential representation of the Rive Gauche arthouse movement, an influential cinematic shift that took root in France during the 1950s. This movement was characterized by its intellectual and artistic ambition, seeking to push the boundaries of traditional filmmaking. The narrative centers around a man who encounters a woman he believes he has met in the past, despite her complete lack of recollection. As the story unfolds, the film artfully expands on this enigmatic premise, exploring the dynamics of memory and identity. It elevates and challenges cinematic language to unprecedented heights, where the protagonists’ forgotten dreams and indistinct memories intertwine, crafting a deeply personal and introspective tale. This unique depiction highlights the elusive and fascinating nature of dreams and the often fragmented construction of memory, presenting a rich tapestry that invites audiences to navigate between reality and imagination.
Dog Star Man (1961-1964)
Dog Star Man is a captivating and innovative series of avant-garde short films, meticulously crafted and directed by the visionary filmmaker Stan Brakhage. The project, released in a series of installments spanning from 1961 to 1964, consists of an opening sequence followed by four distinct parts. At the heart of Dog Star Man is a compelling narrative that unfolds through a visual odyssey experienced by a bearded lumberjack, portrayed by Brakhage himself. This character embarks on a challenging journey up a snow-covered mountain, accompanied by his loyal canine companion, with the goal of felling a tree. As he undertakes this arduous ascent, the lumberjack is entranced by a series of extraordinary, almost mystical visions that unfurl before him. These visions are characterized by a rich tapestry of recurring imagery, including glimpses of a woman, a child, and the awe-inspiring beauty of the natural world. Through its vivid and surreal visual language, Dog Star Man invites viewers into an exploration of metaphysical themes and the intricate relationship between mankind and the cosmos, making it a significant piece in the realm of experimental cinema.
La Jetée (1962)
La Jetée is quite possibly the most popular film of the French Left Bank movement. Shot entirely in black and white, La Jetée is composed of a series of still images that tell a complicated science fiction story. An inmate undergoes training to travel to the past in order to avoid an apocalyptic occasion. Later, he is sent to the future, where he experiences a hyper-advanced civilization that provides him with methods to save the individuals of his era. Meanwhile, he is tortured by an unusual memory of a boy being killed on a dock and, returning to the past, recognizes that this memory was his own murder.
Soy Cuba (1964)
Soy Cuba, known in English as I Am Cuba, is a 1964 cinematic production directed by Mikhail Kalotozov. This film emerged from a collaborative effort between Cuban filmmakers and the Soviet Union, symbolizing a significant cultural alliance during that era. Comprised of four distinct vignettes, Soy Cuba serves as a vivid portrayal of Cuba’s transition to communism following the 1959 revolution. The film was a manifestation of the deepening relations between Cuba and the USSR, celebrating their shared political ideologies. Despite its later recognition, Soy Cuba was initially met with little enthusiasm from audiences upon its release, leading to its obscurity for many years. It was only through its rediscovery that its innovative artistry received due acclaim. The film’s cinematography, notable for its extraordinary use of extended single takes, both aerial and underwater, was remarkably pioneering, setting a high standard that was far ahead of its time.
Sleep (1964)
“Sleep” is a groundbreaking 1964 avant-garde motion picture created by American artist Andy Warhol. This experimental film extends over a duration of 5 hours and 20 minutes, presenting a continuous, looping sequence of John Giorno, a poet and a notable admirer of Warhol during that era, engaged in the tranquil act of slumber. Among Warhol’s early ventures into the world of cinema, the film was conceived as an “anti-film,” deliberately challenging conventional cinematographic norms and expectations. This approach reflected Warhol’s innovative spirit and his desire to push boundaries, a theme prevalent in much of his artistic work. Several techniques utilized in “Sleep” would later be further expanded upon in Warhol’s subsequent projects, most notably in his famously minimalist eight-hour film, “Empire,” which maintained the same exploratory and contemplative style pioneered in “Sleep.” These films were part of Warhol’s broader artistic quest to explore the boundaries of time, perception, and the mundane, provoking audiences to reconsider their understanding of cinema as both an art form and an experience.
The House Is Black (1967)
The House Is Black is a renowned Iranian short documentary film directed by the talented Forough Farrokhzad. This cinematic work offers a profound exploration of life and the profound suffering experienced within a leper hospital, capturing the essence of the human condition. Interspersed throughout the film are poignant quotations from both the Old Testament and the Quran, along with selections of Farrokhzad’s deeply evocative poetry, which serve to enhance the thematic depth of the narrative. It features haunting yet insightful video footage taken within the Bababaghi Hospice leper hospital, providing an unflinching glimpse into the lives of its patients. Notably, this was the sole film Farrokhzad directed before his untimely passing in 1967. In the heartfelt aftermath of the film’s production, he adopted a child from the very leper hospital that inspired this poignant narrative. Although initially the film garnered limited attention outside Iran upon its release, it eventually earned recognition as a cornerstone of Iranian cinema and played a pivotal role in ushering in the Iranian New Wave, setting a new artistic and cultural trajectory for the nation’s film industry.
Faces (1968)
Faces is a 1968 American drama film that was both written and directed by the accomplished filmmaker John Cassavetes. The movie boasts a talented ensemble cast, including John Marley, Gena Rowlands, Lynn Carlin, Seymour Cassel, Fred Draper, and Val Avery, each delivering compelling performances that enhance the film’s emotional depth. Demonstrating its critical acclaim, Faces was honored with two prestigious awards at the 29th Venice International Film Festival and received three nominations at the esteemed 41st Academy Awards, highlighting its impactful presence in the cinematic landscape of the time. Filmed in the cinéma vérité style, the movie captures a raw and authentic illustration of a married couple’s relationship as it reaches a point of crisis. John Marley and Lynn Carlin portray the central couple whose marriage is thrown into turmoil following an unforeseen decision—a spouse’s abrupt announcement of wanting a divorce. This pivotal moment propels the narrative forward, and through an unflinching lens, viewers are introduced to a variety of social groups and individuals whom the couple encounter in the wake of this announcement. These interactions serve to underline the complexities and emotional turmoil of their marital struggles, painting a vivid portrait of human relationships under strain.
The Color Of Pomegranates (1969)
“The Color of Pomegranates,” released in 1969, stands as a quintessential piece of avant-garde cinema, artfully crafted to depict the life and accomplishments of the esteemed Armenian poet, Sayat-nova. From its very inception, the film invites viewers to abandon the search for a traditional narrative within its sequences. Instead, it encourages an appreciation for the intrinsic psychological essence and poetic inspirations that subtly shape its creation. Through an extensive series of intensely abstract and symbolic images, the film poses a significant challenge for viewers, particularly those from Western cultural backgrounds, perhaps unfamiliar with such a non-linear and interpretive style. This cinematic work not only serves as a profound reflection of Armenian cultural heritage but also represents a significant, albeit late, manifestation of the Soviet avant-garde artistic movement, intertwining elements of historical context with a bold, innovative aesthetic approach.
The Discreet Charm of the Bourgeoisie (1972)
A bourgeois couple, François and Simone Thévenot, find themselves in an amusing and somewhat awkward situation. They are accompanying François’ colleague, Don Rafael Acosta, who is the distinguished ambassador of the South American nation of Miranda, as well as Simone’s sister, Florence. The group arrives at the Sénéchals’ residence, where they have been invited for what was supposed to be an elegant dinner gathering. When they arrive, Alice Sénéchal is taken aback and visibly surprised by their presence. She had mistakenly assumed that their visit was scheduled for the following evening and, as a result, had made no preparations for dinner that night, leaving her mortified and the guests in quite an unexpected predicament.
The film, directed by Luis Buñuel in 1972, is a surrealist masterpiece offering a startling critique of bourgeois society. The narrative revolves around a group of middle-class individuals who are relentlessly attempting to sit down for a meal, only to be continuously thwarted by a series of bizarre and extraordinary interruptions. Throughout this cinematic experience, Buñuel cleverly exposes the pretentions and absurdities of the bourgeoisie, revealing their susceptibility to hypocrisy and shallow values. The film deftly critiques the inclination of the upper classes towards warmongering and the consequential distress and suffering inflicted upon the lower classes. Through a tapestry of surreal and symbolic sequences, it highlights the futility and repetitive nature of the societal power dynamics that perpetuate inequality and exploitation. Each scene is crafted with meticulous attention to the absurd, inviting audiences to question the underlying motives of the characters and, ultimately, of society itself. This film doesn’t merely entertain; it challenges viewers to reflect on the entrenched societal norms and the cyclical patterns of behavior that maintain social hierarchies.
The Holy Mountain (1973)
The Holy Mountain is a unique cinematic masterpiece from 1973, originating from Mexico and embracing the avant-garde surreal-fantasy genre. This remarkable film was directed, penned, produced, co-written, and co-edited by the visionary Alejandro Jodorowsky, who also made his mark as the set designer and dress designer for the project. This film was crafted on the heels of the underground acclaim Jodorowsky achieved with El Topo, garnering attention from the likes of John Lennon and George Harrison. The production saw an influential collaboration with Allen Klein of ABKCO Music and Records, known for overseeing The Beatles, playing a pivotal role as the producer. In a rare and fascinating twist, it was Lennon and Yoko Ono who combined their financial resources to support the film’s creation. The Holy Mountain was presented to audiences at a diverse array of prestigious global film festivals throughout 1973, notably including a screening at Cannes, showcasing its impact on and contribution to the world of cinema during that era.
The Phantom of Liberty (1974)
“The Phantom of Liberty” is an avant-garde surrealist film created by the visionary filmmaker Luis Buñuel in 1974, with production handled by Serge Silberman. The film features a talented cast, including Adriana Asti, Julien Bertheau, and Jean-Claude Brialy. It is distinguished by a unique non-linear plot structure, composed of a series of episodes that are linked only through the transition of characters from one situation to another. Buñuel’s work masterfully showcases his signature satirical and subversive style, interweaving a range of surreal and whimsical events. These sequences effectively challenge the audience’s established beliefs regarding societal norms and morality, compelling viewers to reconsider their own perceptions. Through its unconventional narrative and thought-provoking themes, the film invites audiences on an intellectual journey that probes the boundaries of reason and conventional thought.
Mirror (1975)
Mirror delves deeply into the thoughts, emotions, and recollections that define Aleksei’s life experiences from childhood to his teenage years, and then into his life as a man in his forties. While the presence of the adult Aleksei is subtle and only faintly evident, he exists as a reflective commentary permeating certain scenes. Its narrative unfolds in an innovative structure, eschewing chronological order and traditional plot conventions to artfully blend crucial events, vivid dreams, cherished memories, and significant newsreels. The film makes transitions among three distinct historical periods: the era before the war, specifically 1935, the turbulent years of the 1940s during the war, and the transformative post-war years which span the 1960s and 1970s.
Mirror by Andrei Tarkovsky, though not explicitly crafted as an autobiography, profoundly reflects autobiographical elements, capturing the intense struggles, challenges, and profound hardships experienced by those who matured in the Soviet Union throughout the turbulent 1930s and 1940s. The film is an intricate tapestry of personal and historical narratives, artfully conveying the collective and individual experiences of that era. It invites viewers into a deeply immersive journey that reveals the soul’s uncovering against the backdrop of societal upheaval and familial relationships. Due to its complex and layered storytelling, Mirror necessitates multiple viewings to grasp its full depth and appreciate the subtle nuances embedded in its narrative. With each viewing, the audience discovers new insights and emotional textures that were previously unnoticed, unveiling Tarkovsky’s mastery in weaving cinema and memory together. The cinematography presented on screen is nothing short of extraordinary, with every frame meticulously composed to evoke a visceral connection with the audience. Each scene is crafted with exceptional precision, contributing to a visual poetry that transcends traditional filmmaking techniques. Upon its initial release, critics were divided in their opinions, some perplexed by its unconventional structure and abstract storytelling. Despite this initial mixed reception, the film has cultivated a substantial and devoted cult following over the years. Many cinephiles and scholars now herald it as one of the finest cinematic achievements in the history of filmmaking. For those who embrace its intricate layers and profound emotional resonance, Mirror stands as an unparalleled masterpiece that continues to inspire and provoke thoughtful reflection.
Eraserhead (1977)
Spencer arrives at her house with a collection of groceries, only to find the place in disarray, filled with heaps of soil and the remnants of plants that have long since withered and died. As evening descends, Spencer finds himself at X’s house, attempting to engage in awkward conversation with X’s mother. Seated at the dining table, he is entrusted with the task of carving a chicken that X’s father had prepared. To his utter surprise, the bird jerks and spasms on the dish, releasing a torrent of blood once the knife pierces its flesh. The meal concludes, and Spencer is suddenly caught in a confrontational embrace by X’s mother, who makes an unexpected advance and attempts to kiss him. During their encounter, she discloses that X has given birth to a son. However, X harbors uncertainty and trepidation, as she questions whether the entity she has brought into the world is indeed a human child.
David Lynch is arguably the most renowned contemporary avant-garde filmmaker, and his 1977 film Eraserhead stands as a quintessential example of avant-garde cinema. This work is intended to illustrate the manner in which stress, anxieties, and worries manifest within the realm of dreams. Eraserhead serves as an exploration of the turbulent and unsettling emotions that have the ability to infiltrate and contaminate the subconscious mind. Through its unique visual and narrative style, the film offers audiences a thought-provoking journey that delves deep into the chaotic nature of troubling thoughts and emotions as they emerge in the surreal landscapes of the mind.
That Obscure Object of Desire (1977)
That Obscure Object of Desire is a 1977 surrealist comedy-drama film directed by the renowned Luis Buñuel. This cinematic work is an adaptation of Pierre Louÿs’ 1898 novel, “The Woman and the Puppet.” Notably, this film marked Buñuel’s final project as a director, as he passed away in July 1983. The setting alternates between Spain and France, unfolding against the tense and chaotic atmosphere of a terrorist uprising. The narrative is told through a series of flashbacks belonging to Mathieu, an elderly Frenchman portrayed by Fernando Rey. Matthieu becomes enchanted with Conchita, a young and enigmatic Spanish woman. Intriguingly, the character of Conchita is played interchangeably by two actresses, Carole Bouquet and Ángela Molina, adding layers to her mysterious allure. Throughout the film, Conchita persistently thwarts Mathieu’s romantic and sexual aspirations, creating a complex and often bewildering exploration of desire and obsession. The juxtaposition of political unrest and an intricate personal saga gives the film a unique depth, making it a seminal piece in Buñuel’s illustrious career.
Wax, Or The Discovery Of Television Among The Bees (1991)
Wax or the Discovery of Television Among the Bees is an intriguing independent feature film that marks the debut of American director and artist David Blair. This cinematic piece is notable not only for its inventive storytelling but also for featuring Blair in the leading role and a special appearance by the legendary writer William Burroughs. The film skillfully blends a variety of visual techniques, including pioneering digital animation, unembellished video footage, and live-action sequences, creating a unique and engaging visual narrative. Wax is emblematic of the creative innovations and pointed political critiques of its time, offering insights and reflections that continue to echo in contemporary discussions. The film not only pushes the boundaries of visual art by experimenting with varied styles but also astutely critiques the political atmosphere of its era, making it an enduring piece of cinematic history.
Interpreted by many as a cinematic response to counteract the onset of the Gulf War, this film stands out as an exceptional example of avant-garde artistry. It uniquely unfolds around the life of a beekeeper, who is deeply convinced that his hive of bees has embedded a mystical crystal in his forehead. This extraordinary phenomenon grants him the uncanny ability to converse with the spirits of the departed, allowing a glimpse into the ethereal realm. The film masterfully utilizes breathtaking and innovative computer-generated effects, which artfully manipulate the images on the screen, creating visual distortions that diverge from the norms found in traditional cinema. Through this visionary approach, the film offers an awe-inspiring and thought-provoking experience, pushing the boundaries of visual storytelling to a level seldom explored in mainstream movies.
Film Socialisme (2010)
Film Socialisme is a 2010 French avant-garde film directed by the renowned Jean-Luc Godard. This innovative and thought-provoking film made its debut in the prestigious Un Certain Regard section of the 2010 Cannes Film Festival before being released in France just two days later. The film is artfully divided into three distinctive acts, each offering a unique perspective and thematic exploration. The first act, Des choses comme ça (“Things like that”), transports viewers onto the deck of a cruise ship, where the narrative unfolds. This act is notable for its use of dialogue in multiple languages, reflecting the diversity and complexity of global communication. The setting provides a rich backdrop for an examination of cultural and social interactions among passengers from around the world, inviting the audience to ponder the intricacies of human connection in a confined space. Following this, the film shifts to the second act, Notre Europe (“Our Europe”), which takes place in an unexpected setting—a petrol station. Here, the focus narrows onto a group of children, joined by a woman and her younger brother, who take a stand against their parents. They convene what is likened to a “tribunal of their youth,” demanding of their elders critical explanations regarding the principles of equality, fraternity, and freedom. This act delves deeply into the generational divide and the quest for accountability in a rapidly changing world. The concluding act, Nos humanités (“Our Liberal Arts”), broadens the scope once again by visiting six historically and culturally significant locations: Egypt, Palestine, Odessa, Greece, Naples, and Barcelona. Each destination serves as a canvas to explore the rich tapestry of human history and culture, as well as the political and philosophical undercurrents that shape our collective past and present. Through these diverse settings, Godard continues his exploration of humanity, inviting viewers to reflect on their own understanding of civilization and the enduring legacy of cultural and intellectual achievements.
