Walter Ungerer

The film begins with abstract images of continuously changing in color, shape and texture. Slowly it reveals the source and real identity of the original subject-matter, and in so doing has transcended the abstract world for reality. Yet, they co-exist. Time lapse video clips form the basis of this work.

Digital stills and video footage of a child on a beach in Cape Cod, Massachusetts, are manipulated and obscured to create a nostalgic atmosphere of remembrances. The Amiga computer has now been replaced by the Macintosh. The editing program is the Media 100.

A sensuous woman, an angry artist, a mysterious puppet maker, suspicious townspeople, mischievous kids; these are the characters in the film.

Abstract contemporary sculptures at a museum, male and female mannequins at a downtown mall, the Venice Beach and Santa Monica Promenades with their various attractions of hawkers, exhibitionists and vendors; these are all the subjects of this film. Added to the collection are a ride on a carousel composed of beautifully restored antique horses, a tram ride to the heights of the Getty Museum, an inner city LA bus ride, and the journey to the Boston airport from Maine. This material is blended together by layering, multiplying and repeating sequences to produce a array of colors, shapes, objects and sounds. that reflect the effects of a brief visit to Los Angeles.

Walter Ungerer’s Monarda (2010) has been screening across the country as part of the 2011 Black Maria Film Festival, a traveling program of new experimental cinema. Like much of Ungerer’s work, the 10-minute Monarda explores the mystifying qualities of nature. Beginning with a shot of grass, Ungerer quickly abstracts his images through digital manipulation until they are barely recognizable. Traces of natural forms (leaves, twigs) ground what is an otherwise indescribable procession of images. Though the visuals evade literal synopsizing, there’s a simplicity and concision to the film that allows the viewer to get caught up in their own experience rather than get sidetracked on decoding the filmmaker’s intentions. Monarda instills a feeling of both apprehension and wonder in the viewer. It’s a disquieting film, but one whose subtle craft and atmosphere becomes more impressive over multiple viewings.

How the universe evolved, and how humans developed are questions that arise with our awareness of life on the planet. There seems always to be much conjecture about it, but no clear answers. Mystery and wonder are pervasive. This film stems from my thoughts about it. As the images I created evolved into continuous sequences, it pursued a direction hitherto unknown by me until it was a film, and finished.

The film parallels the short treatise The Awakening of Faith by Asvaghosha which provides a comprehensive summary of the essentials of Mahayana Buddhism. That treatise discusses the question of how man can transcend his finite state and participate in the life of the infinite while still remaining in the midst of the phenomenal order.

The film title is an abbreviation for no comment. With all due respects I find this to be an appropriate description of this film, which is based on abstract drawings, obscure images, and distorted sounds.