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The Best William Kentridge Movies. Go to The Best Shows

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poster

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William Kentridge and Marlene Dumas – two of the most celebrated names in international contemporary art – come face to face in a series of frank, witty and intense discussions about their work and practice. The film follows them from the gentle ambience of a dinner conversation, to their studios – where we are given insight into the way that each artist works – to some of their finished works and installations. What emerges is how very differently these two highly successful South African artists approach image making. Dumas’ method is deeply intuitive – she often works on the floor as though embracing her paintings, pouring and dabbing paint to produce her remarkable portraits. Kentridge is intensely systematic, alternating gestural mark making with the repetitive action of drawing-filming-erasing for his animated films.

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Based on Dada artist Kurt Schwitters’ 1932 sound poem Ursonate, consisting entirely of a nonsense, invented language, Kentridge’s work is comprised of two film projections: one in which the artist emphatically gesticulates as he sounds the score accompanied by an opera singer and percussionist, while a constant flow of animated calligraphic images drawn by Kentridge are projected on the second screen.

poster

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Alan Yentob joins South African artist William Kentridge as he prepares an epic frieze along the banks of the river Tiber in Rome. Alan visits him in his hometown of Johannesburg, the inspiration for the magical hand-drawn animated films he calls 'drawings for projection'. Brought up under apartheid, Kentridge has witnessed the fragile transition to a multi-racial democracy, and his art continues to reflect South Africa's turbulent times.

poster

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In KENTRIDGE’s cross-disciplinary, cross-media world of artistic creation, images are not merely background supporting characters for theatre or installations, but are seen as an important intermediary to understanding the world. Taking Plato’s ‘Allegory of the Cave’ as an example, he feels that the prisoners in the cave believed the shadows on the wall represented reality not because they were controlled by hallucinations, but because silhouettes projected onto walls by firelight were the beginning of mankind’s understanding of the meaning of the world.

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