Movies - mdblist.com

The Best Ed Bowes 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 (10 items)

Found 10 items

Login to create a dynamic list

?

10

/1/

With HOW TO FLY, Bowes abandoned plot entirely, finding other forms of structure. He wanted to show that stories do not have to obsessively organize and explain data, and that television’s hundreds of simultaneous, fragmented narratives – news, fiction, commercials, sports, etc. – had prepared audiences for this new type of structure. — Charles Ruas

?

Co-written with poet Anne Waldman, THE VALUE OF SMALL SKELETONS describes the world, relationships, and interior imagination of a character named Merit. — Anthology Film Archives

?

In GRISAILLE (which is a painterly and stained glass term referring to the use of ‘gris’: gray) we encounter five figures – all women – or as Bowes calls them ‘presenters’ who seem to overlap and know one another. They sleep, read, write and contemplate their own consciousness and rehearse their mind grammar, and contemplate paintings, gender, a Robert Duncan poem that relates to a mother as a falconress. They exist in a mysterious landscape of texture, unfathomable shapes, and extraordinary color. The tones of painters Bonnard, de Kooning, Picasso, as well as Renaissance art, have inspired the color and shape of GRISAILLE. — Anne Waldman

?

A portrait of the African American poet through her powerful and moving work. Akilah passed away in February of 2011. — Anthology Film Archives

?

Ed Bowes’s most recent project, A PUNCH IN THE GUT OF A STAR, was filmed in 2020 during the pandemic. Set in Colorado and based on a text by Anne Waldman and the Catalan-American poet Emma Gomis, it is centered on the dreamy, poetic pod they formed together during this enigmatic time. — Anthology Film Archives

?

An adult tale of psychological disintegration presented from the point of view of a single, professional woman living in New York, SPITTING GLASS is told in a deadpan manner, with some humor and considerable irony. The program powerfully conveys an experience of mental confusion and frustration rooted in social contradictions. Soon her own thoughts are tormenting her as conflict and anger surface in some disturbing and antisocial behavior. Conversations and confrontations spill over into one another; voices become distorted and insights emerge in fragments as the protagonist moves through a series of unsatisfying encounters in her daily routine. She’d like to ‘find a new approach’ in the midst of this personal moral crisis, but can’t decide if she should go out West or kill her father. — WGBH

?

SEAHORSE POWDER ROOM spends personal time with two adults and two children; variously writers, thinkers, and musicians, presenting in a weave of text, considerations of Judith Butler and queer poetics, a severed fox head and performance, as they mix in the shadow of words, light, and impermanence. — Anthology Film Archives

?

Digital technologies are supposed to distance us from our material surroundings, but in Ed Bowes’s hands, they accentuate the physical world. His exquisite new film, ENTANGLEMENT, shot in high definition, lingers over skin pores, strands of hair, a clutch of flowers, a chair’s back. The accompanying script – written with poet Anne Waldman – is philosophical, abstract, while remaining as sensual as the camera’s vision. Together, image and word draw attention to the nuances of love, language, and touch that we frequently overlook in our bustling everyday lives. — Alan Gilbert

poster

?

BETTER, STRONGER stands in contrast to the lilting pace of ROMANCE. It begins with an intense monologue by its main character, Lana (Karen Achenbach), which continues at a fairly relentless pace throughout. It is not a seductive story like ROMANCE, but an aggressive one that often jabs and pokes at the audience. Lana’s character is a high-energy, talkative actress who has returned to New York from California for a brief visit. She visits her family and cousins, who are a rowdy and obnoxious bunch, and storms from one scene to another. […] Bowes made BETTER, STRONGER as an artist-in-residence at the Television Laboratory at WNET/Thirteen. The tape is distinguished by its preoccupation with and relentless poetic use of language. […] While BETTER, STRONGER, like ROMANCE, would seem to have a direct plot line, Bowes has structured the action loosely with no central crisis or resolution. — Marita Sturken, “Television Fictions: An Interview with Ed Bowes,” AFTERIMAGE (May 1986)

?

The plot revolves around Tom (Ed Bowes) and his girlfriend Kathleen (Elizabeth Cannon) and what occurs when her mother and androgynous brother Tommy (Karen Achenbach) come to visit. Tom is receiving transcripts of his innermost thoughts in anonymous letters. Sexual ambiguity, symbiotic relationships, and self-identity are all at play here. Structured in long, uncut takes with beautiful camera work by Tom Bowes, the real-time aesthetic of the work is the result of the script, in which much of the action takes place in drifting conversations. — Marita Sturken, “Television Fictions: An Interview with Ed Bowes,” AFTERIMAGE (May 1986)

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