Movies - mdblist.com

The Best Józef Robakowski Directed Movies

Movie

From

To

Released

Upcoming

Ratings

Score

Between

and

RogerEbert

Between

and

IMDb Rating

Between

and

IMDb Votes

With at least

votes

Trakt Rating

Between

and

Trakt Votes

With at least

votes

TMDb Rating

Between

and

TMDb Votes

With at least

votes

Letterboxd Rating

Between

and

Letterboxd Votes

With at least

votes

Metacritic

Between

and

Metacritic Votes

With at least

votes

Tomato

Between

and

Tomato Votes

With at least

votes

Popcorn

Between

and

Popcorn Votes

With at least

votes

MyAnimeList Rating

Between

and

MyAnimeList Votes

With at least

votes

Sex & Nudity

Violence & Gore

Profanity

Alcohol, Drugs & Smoking

Include if no rating / vote

Reverse vote (Less than)

Score Average instead of Score

Hide if no TMDB ID

Additional filters

Genres to include

Genres to exclude

Release Status

Has Release

Release Country

Release in Past (days)

Release in Future (days)

Language to include

Language to exclude

Certification

Age Rating

Country to include

Country to exclude

Budget

Revenue

Production Country to include

Production Country to exclude

Runtime

m

Lists, Streaming Services, Cast and more

Popular lists

Popular lists to exclude

Production Companies

Production Companies to exclude

Part of Collection

Keywords to include

Keywords to exclude

In Theaters

Watch region

Watch providers to include

Watch providers to exclude

Director search

Cast to include

Cast to exclude

Limit items

Create List (29 items)

Found 29 items

Login to create a dynamic list

poster

?

10

/1/

The camera records the trajectory and dynamics of Robakowski's movement: he walks, turns and spins with his head up in the woods.

poster

?

20

/2/

From 'The Workshop of the Film Form'. // In I'm Going Robakowski attempted an iconoclastic representation of the human body. He initiated a situation in which the materiality of film engaged in a dialogue with the materiality of the human body. Over the course of the film, the growing fatigue of the body carrying the film camera can be heard in the artist's voice and increasingly heavy breathing. The effect is that of the artist delving into his own materiality. The subject becomes merely a thing among things, a living fragment of the matter. With their attempt to shift the "film gaze" onto the machine (a non-anthropocentric point of perception of the world), Robakowski's Records most fully illustrate the antivoyeuristic ambitions of structuralist cinema, which aimed to subvert the traditional voyeuristic model.

?

10

/1/

From 'The Workshop of the Film Form'.

?

20

/1/

In Impulsators, Robakowski rejects the narrative film form and the representational function in the spirit of his radical manifestations against the illusory character of traditional film in the 1970s, such as e.g. Test, Test II. Like Impulsators, those non-camera films came into being as a result of perforation of film stock, which thus lets through in a desired way the light from the projector, which is in turn “fixed” on the retina and produces after-images. The movement of the film stock generates lively flicker targeted directly at the viewer’s body, above their imagination. Immersed in the trance rhythm, the impulsator becomes a new psychophysical force.

?

10

/1/

A film sketch for a portrait of Stanislaw Ignacy Witkiewicz by multimedia artist Jozef Robakowski.

?

10

/1/

A simple video performance mocking the so called "butchers of art", some Polish performers that used to devastate their bodies during the performances.

?

10

/1/

A swing imposes its rhythm, independent of the commentator; it forms the rhythmic score for the filmmaker's singing.

?

10

/1/

A sort of mini-biography of Robakowski.

?

10

/1/

The equation of organically generated soundtrack with the video image.

?

40

/2/

From 'The Workshop of the Film Form'

poster

?

10

/1/

A short film by Józef Robakowski

?

10

/1/

This film belongs to a group of works that constitute manifestations of Robakowski’s engaged attitude towards social reality. Here, his interests focus on the rhythm of the city, the dynamics of passing cars, recorded with a fast-panning camera set at a single point. The video recording is accompanied by Robakowski’s voice, commenting off-screen, with constantly varying intonation and speed of uttering words, on what is happening in the street. The energy of the urban landscape is contrasted with the calmness of the space in which the camera is placed, which introduces a tension that reflects the author’s emotional state.

poster

?

10

/1/

Robakowski directs the camera to zoom back and forth.

poster

?

10

/2/

61

/4/

A classical organ composition by Johann Sebastian Bach “stretches” a red strip of film; An exploration of musical memory.

?

10

/1/

"...We came to the conclusion that the event recorded on the film does not have to be logically interpreted or named, because its meaning or even nonsense is justified by the fact that this phenomenon took place in a state of war."

poster

?

7.8

/14/

20

/1/

In 1978, Robakowski moved into a new flat in a newly-built high rise in the center of Łódź. That’s when he began filming the people and events he could see from his kitchen window. The film was made on the basis of a dozen or more hours of footage shot during 1978–1999. The artist filmed the front yard of his block of flats in a part of Łódź called “Manhattan”—a cluster of tall, cement housing buildings vaguely resembling New York’s skyscrapers. The images are accompanied by the artist’s commentary, which brings the viewer closer to his neighbors and family, including his then-wife, Małgorzata Potocka. The film comments on the gradual yet profound political and social transformations that took place in Poland over these two decades.

poster

?

4.9

/54/

23

/3/

36

/5/

Rectangles pulsate to an electronic sound loop.

poster

?

5.6

/22/

10

/1/

33

/3/

White circles appear and disappear on a black surface.

poster

?

10

/1/

A short showing Robakowski peeling and eating an apple, which itself produces the sound.

poster

?

25

/2/

ince the 1970s, Robakowski has been experimenting with the category of the author, transferring the authorship of his works onto the film camera. Implementing the strategy of biological-mechanical records, Robakowski continues his experiments, carried out since the 1970s, consisting in the transfer of the authorship of the film onto the film camera, as well as initiates relations between the mechanical medium and the human organism. On the one hand, it embraces collaboration, on the other, human struggle with the machine, extending from the “integration” of its logic and the attempts at its “anthropomorphisation”.

?

Abstract, geometric forms, became the basis for the most outstanding works of the avant-garde sculptor Katarzyna Kobro. With her 'Spatial Compositions', she created her own artistic language, with which she aroused a lot of criticism, which was based on the traditional assumption that a sculpture should be a compact, modelled mass. However, the task of "Composition" was to shape forms that were to come into being. Kobro, however, still wanted to change the space surrounding people with her own art.

?

Words and abstract shapes on a film strip, shot on video

poster

?

The ritual transmission of a military parade from Moscow’s Red Square: On every anniversary of the October Revolution, this was loyally broadcast by all the television stations in the so-called people’s democracies. In Robakowski’s work, this material is used to reconstruct and deconstruct public spectacle. The substitution of the original television commentary with a song sung in German by Laibach (a group from what was then Yugoslavia and is now Slovenia) removes the spectacle from its pompous temporal context and reveals the absolutism of its alluring power. The totalitarian display is in itself art – politically active art, the art of all-out pathos – even if we call it only “quote art unquote”.

?

Short tribute to Valie Export.

poster

?

A fictional telephone conversation between the filmmaker and his mother on her birthday. A performative reflection on the relationship between public and private spheres in which the maker turns his back to the camera, simultaneously shielding himself, and engages the viewer in the (im)possibility of bridging the gap between the man and his mother. Capturing the intimate conversation seems to be a way of keeping a personal memory alive while it merges with the viewer’s memory.

?

A film with Robakowski's characteristic single-shot structure, filmed from the perspective of a character who struggles to walk along a forest path, constantly complaining of nagging pain in his leg.

?

The film is dedicated to the memory of American surrealist Paul Sharits. Sharits sent Robakowski a film score with a proposal to use it in a film production, but the outbreak of martial law prevented the idea from being realised. The film was not made until 2004. The film was created as a result of a very rigorous, constructivist formal procedure, subordinating specific visual values to the melodic line of the musical piece. During the screening, as the notes of the composition are played, corresponding colours appear on the screen, eight colours that correspond to the notes of Fryderyk Chopin's Mazurka Op. 68 No. 4. The vibration of the changing colours and the radiance of the light create a coherent whole with the composer's nostalgic piece. The colourful fields pulsating to the rhythm of the music evoke, on the one hand, the American's structural cinema and, on the other, show the almost vital energy of colour.

poster

?

A highly expressive cry from the author of the manifesto, uttered while his head emerges from the water: "I should like to tell you all that art is energy!"

?

The expression of the fascination of a problem of the ANGLES existance as of its kind intuitive geometry. The imaginary "MODEL" became the main subject of my artistic activity since many years. I am wondering, how the geometry, whose intentions are only practical purposes, can exist in art. I decided to create ANGLES as the energetic, cultural, sign in a form of a personal fetish, in order to make this problem important. I have a feeling, that having three angles at disposal, I will be able to put them, in any way, on the so called REALITY, but also on my biological motivity. Thanks to this operation, I want to cause a kind of the energetic tension. This TENSION should be an essence of this absurd work, i.e. the way of taking on its own articulation to the selfdependent existing matter.

mdblist.com © 2020 | Contact | Reddit | Discord | API | Privacy Policy