Akran

Akran

1969 · 110 min · ★ 7.8 · Drama

"A feature-length deluge of incessant, brilliant bursts of images (short takes and jump cuts, single frames in series, freeze-frames slightly altered between takes) it creates a Joyce-like dense and sombre mosaic of memory and sensory impressions, a texture instead of a plot, a dream-like flow of visually-induced associations often flashing by faster than they can be absorbed. Described by the director as an 'anxious allegory and chilling album of nostalgia,' its penetrating monomania is unexpectedly — subversively — realized to be a statement about American today: the alienation and atomization o technological consumer society is reflected in the very style of the film." - Amos Vogel, Film as a Subversive Art. Preserved by the Academy Film Archive in 2010.

Directed by Richard Myers

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Akran

Butch Cassidy and the Sundance Kid

A close match in mood and era.

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ZOCALO is a color, optically-printed experiment that uses as its base the Zocalo Square in Mexico City. Unlike my other films … it began as a class experiment … and because of my feelings towards the square itself … pursued it in all its variations … finished in December 1972.

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An experimental film by Richard Myers about the cultural devastation of the USA.

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"My first film, THE PATH, was based on a dream about a group of people on an ‘outing’ or a picnic. The people in the dream meet and greet one another and then walk around and through old houses, barns, and buildings. Inside these structures they pass by other people involved in various activities. A woman is folding clothes. A man is making paintings. A young girl is sitting in front of a mirror trying on different necklaces." - Richard Myers. Preserved by the Academy Film Archive in 2007.

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MOVING PICTURES began with a dream I had about a woman walking beside a woods and singing a beautiful aria. I didn’t remember the song, but for the film I selected Plaisir d’Amour by Jean Paul Égide Martini. The film soon became a series of other dream ideas as well. I wanted every scene in the film to be a tracking shot, moving from right to left like a dream scroll. I wanted the film to be quiet and contemplative, and I didn’t want to use subtitles.

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As powerful and complex as is AKRAN, 37-73 is more taut, richer in associative meaning .... 37-73 is about dreams, about memory and its associations with nightmare and magic.

First Time Here

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"In FIRST TIME HERE, I attempted to freely associate two or three dreams with the story of the four women who had an atomic bomb display at a carnival. I wanted the film to be a fantasy which represented various life cycles and, in a sense, to be a celebration of the absurd mess man has gotten himself into."

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