#sheila vand

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oldfilmsflicker:“A Girl Walks Home Alone at Night may be my film of the year (it’s a close contest

oldfilmsflicker:

“A Girl Walks Home Alone at Night may be my film of the year (it’s a close contest with Locke). But it’s not enough to say it’s superior to bogus conflations like InterstellarandGone Girl, or the contrived, studious do-goodism of Masterpiece Theatre pictures such as The Theory of EverythingandThe Imitation Game. Those comparisons only flatter the mainstream pictures, and dull the dirty radiance of this first feature film, written and directed by Ana Lily Amirpour. It’s not even that she has tossed off a casual masterpiece fit to live beside the best work of her evident forebear, David Lynch. No, A Girl is to be judged on a higher plane still, one that includes the visions of Jean Vigo, Jean Cocteau, and Luis Buñuel. This is a dream on your screen, absurd, languid (if not slow), and possessed by the calm of an inevitable beauty. This is what cinema was invented for, a rapture in the school of the surreal, indifferent to the time-wasting fallacy that movies have, or should have, anything to do with realism.“ - David Thomson [x]


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‘We the Animals’, Jeremiah Zagar (2018) We hit and we kept on hitting; we were allowed t‘We the Animals’, Jeremiah Zagar (2018) We hit and we kept on hitting; we were allowed t‘We the Animals’, Jeremiah Zagar (2018) We hit and we kept on hitting; we were allowed t‘We the Animals’, Jeremiah Zagar (2018) We hit and we kept on hitting; we were allowed t‘We the Animals’, Jeremiah Zagar (2018) We hit and we kept on hitting; we were allowed t‘We the Animals’, Jeremiah Zagar (2018) We hit and we kept on hitting; we were allowed t‘We the Animals’, Jeremiah Zagar (2018) We hit and we kept on hitting; we were allowed t‘We the Animals’, Jeremiah Zagar (2018) We hit and we kept on hitting; we were allowed t‘We the Animals’, Jeremiah Zagar (2018) We hit and we kept on hitting; we were allowed t‘We the Animals’, Jeremiah Zagar (2018) We hit and we kept on hitting; we were allowed t

‘We the Animals’, Jeremiah Zagar (2018)

We hit and we kept on hitting; we were allowed to be what we were, frightened and vengeful — little animals, clawing at what we needed.

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 “A Girl Walks Home Alone at Night”, directed by Ana Lily Amirpour, 2014.  “A Girl Walks Home Alone at Night”, directed by Ana Lily Amirpour, 2014.  “A Girl Walks Home Alone at Night”, directed by Ana Lily Amirpour, 2014.  “A Girl Walks Home Alone at Night”, directed by Ana Lily Amirpour, 2014.  “A Girl Walks Home Alone at Night”, directed by Ana Lily Amirpour, 2014.  “A Girl Walks Home Alone at Night”, directed by Ana Lily Amirpour, 2014.  “A Girl Walks Home Alone at Night”, directed by Ana Lily Amirpour, 2014.  “A Girl Walks Home Alone at Night”, directed by Ana Lily Amirpour, 2014.

“A Girl Walks Home Alone at Night”, directed by Ana Lily Amirpour, 2014.


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“A Girl Walks Home Alone at Night”, directed by Ana Lily Amirpour, 2014.“A Girl Walks Home Alone at Night”, directed by Ana Lily Amirpour, 2014.“A Girl Walks Home Alone at Night”, directed by Ana Lily Amirpour, 2014.“A Girl Walks Home Alone at Night”, directed by Ana Lily Amirpour, 2014.“A Girl Walks Home Alone at Night”, directed by Ana Lily Amirpour, 2014.“A Girl Walks Home Alone at Night”, directed by Ana Lily Amirpour, 2014.

“A Girl Walks Home Alone at Night”, directed by Ana Lily Amirpour, 2014.


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“A Girl Walks Home Alone at Night “, directed by Ana Lily Amirpour, 2014.“A Girl Walks Home Alone at Night “, directed by Ana Lily Amirpour, 2014.“A Girl Walks Home Alone at Night “, directed by Ana Lily Amirpour, 2014.

“A Girl Walks Home Alone at Night “, directed by Ana Lily Amirpour, 2014.


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Top: A Girl Walks Home Alone at Night / 2014 / dir. Ana Lily AmirpourBottom: Bringing Up Baby / 1938Top: A Girl Walks Home Alone at Night / 2014 / dir. Ana Lily AmirpourBottom: Bringing Up Baby / 1938

Top: A Girl Walks Home Alone at Night / 2014 / dir. Ana Lily Amirpour

Bottom: Bringing Up Baby / 1938 / dir. Howard Hawks


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If there was a storm coming right now, a big storm from behind those mountains, would it change anyt

If there was a storm coming right now, a big storm from behind those mountains, would it change anything?

A Girl Walks Home Alone at Night, 2014. A film by Ana Lily Amirpour.


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A Girl Walks Home Alone at Night (2014)Dir. Ana Lily AmirpourCinematography: Lyle VincentA Girl Walks Home Alone at Night (2014)Dir. Ana Lily AmirpourCinematography: Lyle VincentA Girl Walks Home Alone at Night (2014)Dir. Ana Lily AmirpourCinematography: Lyle VincentA Girl Walks Home Alone at Night (2014)Dir. Ana Lily AmirpourCinematography: Lyle VincentA Girl Walks Home Alone at Night (2014)Dir. Ana Lily AmirpourCinematography: Lyle VincentA Girl Walks Home Alone at Night (2014)Dir. Ana Lily AmirpourCinematography: Lyle VincentA Girl Walks Home Alone at Night (2014)Dir. Ana Lily AmirpourCinematography: Lyle Vincent

A Girl Walks Home Alone at Night (2014)
Dir. Ana Lily Amirpour
Cinematography: Lyle Vincent


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officialraulcastillo Worlds collide #Repost @wetheanimalsfilm・・・ Special thanks to Jonathan Groff fo

officialraulcastillo Worlds collide #Repost @wetheanimalsfilm
・・・
Special thanks to Jonathan Groff for hosting our #WeTheAnimals screening tonight at @roxycinematribeca with @officialraulcastillo, @dontworryitssheila and @jeremiahzagar.


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Review of TED Talk artist, Alexa Meade.

Meade is an American artist who became famous for her paintings that were produced on live human models. Her innovative style challenges traditional painting methodologies, and forces the audience to question what a painting is and how important the subject within the image is.

Meade also takes the concept of ‘trompe-l'oeil’ (the process of making a three dimensional scene appear to be two dimensional) in her work as she applies the paint to the model and then photographs the finished piece.

I can take a photograph from any angle and the scene will look 2-D.” - Meade

Meade states that her inspiration for this idea came from observing shadows, and a fascination with the absence of light and trying to preserve the shadow, trace it with the use of acrylic paint as a medium. She found it intriguing that the paint would not actually be noticable until the light shifted, and the object created a new shadow. I found it frustrating that Meade did not explain her reason for using acrylic paint, so I presume it is because of the quick drying and practical qualities.

Her notion developed to include how shadows are temporary, and have a temperament for movement, that they are never static. This constant motion is dependant on light and an object to create a shadow. Meade commented that rather than painting the shadow on a canvas, due to the flatness and immobile qualities, she would transfer the life onto her models and paint them instead.

An interesting development that this light and space took on was that her subjects were allowed to walk and go on with their daily lives. Meade actively followed the models, photographing her walking canvases as they interacted with the public.

Meade collaborated with artist Sheila Vand, using her as a subject within her imagery. By painting Vand semi-submerged in a bath of milk, Meade documented the 'unexpected’ results as her limbs became hidden and blended with the opaque backdrop. In my own opinion, I agree with Meade that this series of work entitled 'Activate’was more symbolic and an elegant progression of ideas.

For me, I can see my work involving aspects of painting practice again and not just representing my ideas through sculpture. By studying Meade’s style I can see how experimentation and use of the form can be a valid and ignorable asset.

Turning people into paintings and painting on people in a pool of milk, you find the strange in the familiar. But to get this, you must look at what is below the surface, hiding in the shadows, looking beyond what has already been highlighted.” - Meade

Reviewed by Katie Varey,

11/1/2014

The video can be viewed at:

http://www.youtube.com/watch?v=UMn2q35HBeQ

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