Stan Brakhage Movies

As a poem might be said to contain the night through a weave of words, so have I in this film attempted such a container with warp and woof of...

This, the second film of the continuing autobiographical Duplicity series, is composed of superimpositions much as the mind "dupes" remembered...

This is a hand painted, step printed work which views Occam's economical vision of life (The Razor's Edge') as something more thread-like: a...

One of the few Brakhage films featuring spoken dialogue and a central character, this sly and bitter polemic pits an actor (poet? director?) against...

A hand-painted elaborately step-printed film which begins in blues and greens with golden geographic-beseeming continents which evolve into...

This film is a hand-painted combination of shapes which suggest, as appropriately colored, jungle, open veldt, horizontals of grasses, shag-shape...

This is a hand-painted work which involves a variety of colors applied within gouged and scratched shapes which approximate both swift shifts of...

This hand-painted work is easily the most minutely detailed ever given to me to do, for it traces (as best I'm able) the hypnagogic after-effect of...

Persian Series #17 is a series of quite distinct globules of paint brilliantly colored and shifting as if vertically in the plane (as different from...

Says Fred Camper of the film: "Invited to Riverside, California, Brakhage, under the mistaken impression that it was a desert, was planning a desert...

Dark, fast-paced symmetry in mixed weave of tones moving from oranges & yellows to blue-greens, then retreating (dissolves of zooming away) to both...

This film takes its cue from that ultimate situation of Sex/Med/masturbation - the loft-and-lonely hotel room. It is thus easily twice the length and...

“With some exceptions, the Arabics take the idea of the void as their ground. That is, the light we do see almost always seems to be set...

“With some exceptions, the Arabics take the idea of the void as their ground. That is, the light we do see almost always seems to be set...

Portrait of Jesse Collins: a daydream nightmare in the surrealist tradition.

This hand-painted, step-printed film begins with streaks of light and vibrantly colored forms. There appears, frame center, the tapered shape of a...

Now that "II" has been completed, one would suppose that the above film "I" is "One"... unless, of course, this film's spoken title is "aye-aye" or...

"The third and shortest section reintroduces camera-derived imagery and, minimal as it may be (sunlight shimmering on water, seagull wheeling in the...

Singly-printed multi-colored watery "blobs" and "feathery" streaks of painted color, dominated by yellows and reds interweaving in complexity until...

“With some exceptions, the Arabics take the idea of the void as their ground. That is, the light we do see almost always seems to be set...