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The Best Walter Ungerer Directed Movies

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10

/1/

The Princess of Oobieland is interviewed in a television studio in New York City. Her responses, sometimes only barely discernible over the whir and clang of obscure machinery, are testimony to the closing of those gateways which we encountered in the first part (INTRODUCTION TO OOBIELAND).

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10

/1/

Part five, EPILOGUE TO OOBIELAND is a 40 second animation punctuating the entire series much like a period ends a sentence. All together the five parts exhibit an array of techniques in animation, live action theatrical presentation and sound.

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10

/1/

Arthur, a 21 year old American male has been drafted into the army. It is the time of the Viet Nam War. Slowly we are introduced to three sets of characters whose decisions ultimately determine the course of Arthur's resolution to his dilemma, and thus his life. First comes a group of non-Americans. Then a second group consisting of actual friends, family and acquaintances of Arthur the actor. Finally, the third group, a cross-section of Americans: teenie boppers, suburbanites, Green Berets, an artist and a Spanish American War vet. The final solution is brought about by bringing the non-Americans together in an auditorium, showing them all the previously shot footage and asking them to vote on what they think Arthur should do.

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6.0

/8/

10

/1/

Someone attempts to find Oobieland. The realm of artificial sound encountered in the first film (INTRODUCTION TO OOBIELAND) is left behind; there is a terrible silence. The television studio of the second film (UBI EST TERRAM OOBIAE?) is also left behind; big trees and snow populate the visible world in SOLSTICE. Somewhere a boundary is crossed; the viewer is caught up in a cycle of meetings with strange inhabitants of that short space of time we call winter solstice.

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20

/1/

UNTITLED 2.1.2 uses abstract, hardly recognizable shapes and colors to create a person's emotions as they experience tension and chaos.

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8.2

/6/

10

/1/

Using hand-painted film, animation and an inventive soundtrack, INTRODUCTION TO OOBIELAND is an exploration of gateways: a repeated series of movements from the familiar and safe to the unknown and dangerous. Cycles are left incomplete. Chases are never consummated; the day ends with no promise of rebirth. In this way the film touches on our oldest instincts, leaving us saddened and scared by the knowledge of a world that will never know freedom through the completion of action; safety through the sanctification of place.

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70

/1/

A woman and a man, both no longer young of age, follow basic routines in their home. Outside at the birdfeeders, birds follow basic routines. As the sun rises and moves across the sky, life passes for all. The film uses a combination of stop motion and time lapse to record. This creates a visual staccato effect, which is also very apparent in the audio track when the two people are talking. Using this technique only small intermittent bits of a conversation are recorded. Much of the talking is omitted leaving newly constructed sentences and meanings.

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20

/1/

Though birds and people appear to have some similar qualities; affection, caring, tolerance, aggressiveness, belligerence, combativeness; in the scheme of things, we are all waiting our turn in the queue.

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10

/1/

The film is an improvised story about a young man who meets a young woman in a public place. He attempts to establish a friendship. This situation is played out three times, each time with different characters and different actors in different locations. What occurs unfolds differently with each story. In each situation the actors don't know each other. They respond spontaneously as they create the dialogue and the narrative.

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50

/3/

Walter Ungerer’s Monarda (2010) has been screening across the country as part of the 2011 Black Maria Film Festival, a traveling program of new experimental cinema. Like much of Ungerer’s work, the 10-minute Monarda explores the mystifying qualities of nature. Beginning with a shot of grass, Ungerer quickly abstracts his images through digital manipulation until they are barely recognizable. Traces of natural forms (leaves, twigs) ground what is an otherwise indescribable procession of images. Though the visuals evade literal synopsizing, there’s a simplicity and concision to the film that allows the viewer to get caught up in their own experience rather than get sidetracked on decoding the filmmaker’s intentions. Monarda instills a feeling of both apprehension and wonder in the viewer. It’s a disquieting film, but one whose subtle craft and atmosphere becomes more impressive over multiple viewings.

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10

/1/

A sensuous woman, an angry artist, a mysterious puppet maker, suspicious townspeople, mischievous kids; these are the characters in the film.

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64

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5.8

/32/

58

/4/

3.4

/239/

A man meets a woman at a deserted railroad station somewhere in northern New England. It is the middle of winter; snow is falling. The two drive to a remote farmhouse. Two strange children, who never speak, appear at the window; an old woman calls them away.

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10

/1/

A short animation based on the drawings of an elephant and a giraffe by the filmmaker's seven year old daughter Anna.

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5.7

/8/

25

/2/

Walter Ungerer's A Warm Day Comes After A Cold Winter is among a series of experimental films the filmmaker created in the 90s that utilize computer animation and assorted "lo-fi" video artifacts.

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10

/1/

In the kitchen of a Vermont farmhouse, four people come to sit around a table. The silence of solstice holds them together. Before a ritualized meal they each tell a story. Their stories are ominous, yet, as in the first OOBIELAND film (INTRODUCTION TO OOBIELAND), they are incomplete. Earlier, the titular mother has passed on her powers to a young woman. At the close of the film, this young woman enters the farmhouse and, with final simplicity, restores the old order.

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7.4

/10/

10

/1/

The theme is apparently the birth and growth of civilization, its ultimate destruction and rebirth; however, MEET ME, JESUS is actually about loss: the loss of innocence, dignity and hope. The film's final irony is our usual compensation: "If these wings should fail me Lord, meet me with another pair." MEET ME, JESUS is a compilation film using found footage as well as original material and hand painting on film. —Canyon Cinema

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10

/1/

70

/1/

THE WINTER THERE WAS VERY LITTLE SNOW is a visual mood poem using the barest narrative form to convey the feeling and time of crisis for a man in middle age. His marriage has collapsed; he is without a job; and his father has just died. There is no reality, only an indistinguishable mixture of images and moments drawn from some space in time that could be his past, his present, or his future.

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A film about a daydreaming young man in pursuit of the elusive woman of his dreams, where the dreamer is continually thwarted by the intrusion of the filmmaker's own tricks.

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Shot in Connecticut, New Hampshire, New York, Vermont, and Montreal; the film follows filmmaker Guido Gruczeck as he begins to piece together his newest project. A film within a film. Leaving The Harbor illustrates how art immitates life, how everyday occurrences and conversations in Ungerer's life become scenes and dialogue for Gruczeck's film.

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It is a film in four parts: underground, city, rural countryside, fog and ocean. Though the parts are separate, they are bound by the film; as earth, air, fire and water were separate are bound by the concept of universe for ancient Greece.

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The film parallels the short treatise The Awakening of Faith by Asvaghosha which provides a comprehensive summary of the essentials of Mahayana Buddhism. That treatise discusses the question of how man can transcend his finite state and participate in the life of the infinite while still remaining in the midst of the phenomenal order.

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Los Angeles is called “City of the Angels”. On this visit in December 2012 what I recorded became the substance of this film. It is an exploration of inanimate objects: toys, dolls, and figurines, and locations with people: LA auto show, city streets, Getty Museum, a memorabilia shop, and the LA observatory. These were interwoven in such a way as to suggest a correlation between the animate and inanimate, the real and the unreal.

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Abstract contemporary sculptures at a museum, male and female mannequins at a downtown mall, the Venice Beach and Santa Monica Promenades with their various attractions of hawkers, exhibitionists and vendors; these are all the subjects of this film. Added to the collection are a ride on a carousel composed of beautifully restored antique horses, a tram ride to the heights of the Getty Museum, an inner city LA bus ride, and the journey to the Boston airport from Maine. This material is blended together by layering, multiplying and repeating sequences to produce a array of colors, shapes, objects and sounds. that reflect the effects of a brief visit to Los Angeles.

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The film is an observation of activities in Maine. One Town, Portland is celebrating "First Friday Art Walk" where people go to the museum and art galleries. The second town, Belfast is celebrating the boat launching of three rebuilt sailboats. By using a small digital camera, people are canidly recorded talking and eating at a restaurant, viewing artwork, and just walking about town.

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The film begins with abstract images of continuously changing in color, shape and texture. Slowly it reveals the source and real identity of the original subject-matter, and in so doing has transcended the abstract world for reality. Yet, they co-exist. Time lapse video clips form the basis of this work.

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The film title is an abbreviation for no comment. With all due respects I find this to be an appropriate description of this film, which is based on abstract drawings, obscure images, and distorted sounds.

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The film explores the different shapes and colors of clouds. It probes the space clouds occupy. Through the use of haunting ethereal sounds and ghostlike imagery, the experience of seeing the heavens is interpreted.

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A daily record of one year at Mount Battie, Maine. It is a record of the seasons, the changing light from dawn to evening, sunrise and sunset; the changing weather from bright sun to overcast skies, fog, rain and snow; and the changing visitors that come by foot, bicycle, motorcycle, car, truck and camper to make a pilgrimage to the mountain vista that overlooks a small harbor on the coast of Maine, the North Atlantic coastal islands, and the expansive Atlantic Ocean.

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Meditations on human destruction composed at land's end.

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