Stan Brakhage Movies

Ken, Flo and Nisi Jacobs in the Syracuse Airport: this is what you might call baby-sitting in the swamp.

Pale petal and stem-like shapes counter punted rhythmically by an even paler "background" of truly ephemeral of truly ephemeral (almost invisible)...

Very pale, thin, hieroglyphic pinks, greens and blues in a white space which is thickened over by ribbed mashes of these colors which "dissolve" into...

SONG 26: a conversation piece–a viz-a-visual, inspired by the (e)motional properties of talk: drone, bird-like twitterings, statement terror, &...

Section IV is the longest of the four parts and the one in which the photographic material from the past plays the most prominent role. We see more...

In Section II we see a series of discrete sequences showing the children, now somewhat older, in different types of play. They manipulate tiny...

A film about the naturalness of sexuality. Its four sequences feature heterosexual and homosexual lovemaking, dogs copulating, and naked childen at...

Shots of city and country life come together to form an impressionistic whole. Preserved by the Academy Film Archive in 2012.

In Loving (1957), a couple make love in the sun and their optic system flares -- it's really the nervous system's ecstasy -- in oranges and yellows...

Photographing near Taos, New Mexico, where D.H. Lawrence lived, and in the room in which his ashes may be entombed, Brakhage also cites a statement...

Begins with white lamp post, green tree leaves, and window, ends with flashing window light on brown wall of motel room.

Begins with raccoon in a rose light, ends with fading face of child.

Begins with blue negative face of child, ends with single centered eye.

"This film is about 'nothing.' Hints of dramatic 'loss' are imaged throughout, but the primary effect of the film is to give, through fleeting and...

“[Passage Through] required the most exacting editing process ever; and in the course of that work it occurred to me that I’d originally...

Three TV "concretes."

“Films made by the five Brakhage children; Brakhage arranged them in this form but did not edit them.” –Robert Haller

An imagery sharp as stars and hard as the thought-universe (turning back upon itself) absorbed in gentle patterns of contemplation. – S.B.

This film evolves from several years’ observation of the sexual energy which charges the world of business and the qualities of palatial...

OPEN FIELD is in the mind, of course, and exists as a weave of trees, grasses, waters, and bodies poised and fleeting at childhood's end. The scene...