Crack, Brutal Grief

Lamentations: A Monument to the Dead World belongs to a 35-hour film cycle, The Book of All the Dead, which comprises the bulk of Toronto-based Bruce Elder’s filmmaking from 1975 to 1994. In ancient Egyptian culture, the Book of the Dead consisted of religious texts intended to help preserve the spirit of the departed in the afterlife — but in Elder’s reading, that comforting idea of continuity takes on a rather darker cast. Lamentations is comprised of a complex audio and visual patchwork: a philosophical meditation superimposed as text throughout the film; vignettes featuring a comical but disturbing Franz Liszt, a debate between Isaac Newton and George Berkeley, an angry, deranged man in an alley, and an arrogant psychiatrist; and a final search for salvation in the forests of British Columbia, the American Southwest, and Mexico’s Yucatan.

This film is an act of celebration ... He produces -- with light and colour, sound, stillness and movement -- the ineluctable rhythm and energy of the natural world.

"Breathtaking in its techniques, rhapsodic in its passion, and encyclopedic in its scope, the film traces the long fall from paradise into modern barbarism." - Art Gallery of Ontario

Bruce Elder's Consolations picks up where Lamentations left off in the purgatory of modern existence, and aspires to regain, and reaffirm, a sense of meaning, goodness, beauty and mystery in the empty simulacra of the dead world. A philosophical meditation on everything from language to consciousness and aesthetics to morality, Consolations is a gargantuan achievement and a key part in Elder's The Book of All the Dead cycle, inspired by Alighieri's Commedia and Pound's Cantos.

"Behold, I show you a mystery. Not everyone shall sleep, but everyone shall be changed."

"A beatific vision of the imaginary landscape of paradise, inspired by the poetry of ... Blake." Pacific Cinematheque

Inspired by remarks made by Freud, "Eros nowhere makes its intentions more clear than in the desire to make two things one." and by Nietzsche, "What must these people have suffered to have become this beautiful."

Elder depicts forms of life that have grown increasingly out of touch with the body, and attempts to elicit and experience of the delight that results from reconnecting with our natural being

In 1933, at age 33, Harry Alan Potamkin died of complications related to starvation, at a time when he was one of the world's most respected film critics. In his writings, he advocated for a cinema that would simultaneously embrace the fractures and polyphony of modern life and the equitable social vision of left radical politics. This film-biography is assembled out of distorted fragments of films on which he had written, an impression of erupting consciousness.

"The film was made using principles derived from Stephen Wolfram’s work on cellular automata (A New Kind of Science) to determine the content or colour of the shots, their duration, and the time of their appearance: the palette of effects, and their rhythmical development (from the simple alternations with which the film begins to the complex dynamic structures of its later parts),is entirely the result of computational processes that model natural events. John Cage instructed us that art should imitate nature in its manner of operation; I have tried to take the lesson. The music was composed by Colin Clark, using related principles".

The Book of Praise is an experimental cinematic project by R. Bruce Elder, still unfinished and currently in development. As of now, it comprises 9 films, with a total running time of approximately 806 minutes (around 13 hours and 26 minutes), constituting another major project in Elder's body of work.

The memory of a nearly perfect evening.

Monumental experimental film cycle by R. Bruce Elder, comprising 21 films divided into three regions (Lamentations, Consolations, and Exultations), with a total running time of 42 hours (2,520 minutes).

Video transformations of documentary footage of a woman giving birth, assisted by members of a religious commune. Isolation confronts the communal, the gruesome confronts the holy in this most mysterious of events.

Like Ezekiel's vision in the valley of the dry bones, a typos of a new beginning. In among all the feelings of loss and deprivation there occur intimations of final culbute général, of the dissolution of time, of a now that vanishes between the no long and the not yet.