mdblist.com logo The Best Nathaniel Dorsky Movies. Go to The Best Shows


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poster
Kanopy
69
26
8.0
/568/
69
/11/
46
/10/
3.8
/659/
75
/38/

Word Is Out: Stories of Some of Our Lives (1977)
More than two dozen men and women of various backgrounds, ages, and races talk to the camera about being gay or lesbian. Their stories are arranged in loose chronology: early years, fitting in (which for some meant marriage), coming out, establishing adult identities, and reflecting on how things have changed and how things should be.
poster
71
12
6.9
/98/
55
/5/
78
/4/
4.0
/735/

Hours for Jerome (1982)
The recording of the daily events of Dorsky and his partner, artist Jerome Hiler, around Lake Owassa in New Jersey and in Manhattan. The two parts of the films revolve around the four seasons with the first part revolving around spring through summer, while the second part revolves around fall through winter.
poster
?
10
/1/
50
/1/

Letter to D.H. In Paris (1967)
Stoned people, music, movement, fields.
poster
?
6.7
/7/
10
/2/

Divided Loyalties (1978)
Warren Sonbert described Divided Loyalties as a film 'about art vs. industry and their various crossovers.' According to film critic Amy Taubin, "There is a clear analogy between the filmmaker and the dancers, acrobats and skilled workers who make up so much of his subject matter." -- Jon Gartenberg. Preserved by the Academy Film Archive in partnership with Estate Project for Artists with AIDS in 1998.
poster
?
10
/1/

Library (1970)
Initially titled "Books for all". A moving institutional commission in which the filmmakers lovingly portray New Jersey's public library system.
poster
79
?
8.4
/10/
80
/1/
3.7
/241/

New Shores (2012)
NEW SHORES is a sister film to IN THE STONE HOUSE in many ways. Like the latter film, it consists of earlier footage edited in recent years. It could be seen as a sequel to IN THE STONE HOUSE especially since it begins with a cross-country journey to the West Coast, where I settled, and concludes with a visit, in 1987, to the “stone house” in rural New Jersey. Even though there is some sort of time line that can be imagined, the film stands on its own. It is simply a series of episodes that touch upon facets of living in a new area with new weather, new people, new identities and stubborn old fears. The Bolex camera goes to work across landscapes and living areas, workplaces and gatherings. A dance of images: can beauty partner with dread and death? It’s a film of the coexistences that percolate beneath the surface of ordinary events. A film of useless hopes and baseless fears.
poster
?
7.2
/70/
48
/6/
47
/6/

Rembrandt Laughing (1989)
This film is a portrait of the passage of one year in the lives of some San Francisco friends, circa 1988 (before the dot.coming of the city), a slow marijuana hazed story which drifts like the fabled fog, encompassing the quirks and habits of a generation that made the city theirs, if only for a while. Very obliquely Rembrandt Laughing sketches the time and place, encompassing the AIDS epidemic, the casual sexual revolution, the debris of '68 lingering in the air. A quiet, very San Francisco comedy of life among a small group of friends. Rembrandt Laughing was improvised over the period of about a month by Jost and his friends, mostly acting non-professionals.
poster
Kanopy
?

Nathaniel Dorsky: An Interview (2014)
In his contribution to the On Art and Artists interview series, Nathaniel Dorsky (b.1943) begins by discussing his childhood love of the John Ford film Stagecoach and its influence upon his decision to make films while attending Antioch College. Describing the affinity he developed for work operating at the intersection of film materiality and personal language, Dorsky explains how he developed his philosophy of the “devotional film” and the “microcosmic viewer.” Dorsky likens his practice to Buddhist sculpture, referring to himself as a “Japanese poet continuing aspects of the ethos of the Marxist revolution.” In the interview, the artist describes his use of the screen as an “altarpiece for the image” and emphasizes his use of editing to create works which “harmoniously coalesce.” Interview conducted by Jeffrey Skoller in May 2000, edited in 2014.
poster
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Interview with Nathaniel Dorsky (2011)
During a tour with my films in Spain last spring, I had the pleasure of being honoured with the attention of three young people who offered me the opportunity to participate in the following interview. I was touched by their seriousness, but also perceived something out of the ordinary in their project. They seemed to have no common thread and their knowledge and respect for the subject was surprising and inspiring. How could they know so much about the American avant-garde. We arranged to meet in the lobby of my hotel on Saturday a little after breakfast.


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