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- Za 2 groš¡a fantazije
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Retrospektiva bratov Quay I / The Brothers Quay Retrospective I
Leoš Janáček: intimni izleti / Leoš Janáček: Intimate Excursions
Stephen & Timothy Quay (Koninck Studios/Channel Four)
Velika Britanija/UK, 1983, 16 mm, 25’
Lutkovni film, ki interpretira Janačkovo glasbo iz del Sinfonietta, Zapiski iz mrtvega doma, Lisička zvitorepka, Primer Makropulos, Glagolska maša in drugih.
Puppet film which interprets the music of Janácek, incorporating music from Sinfonietta, From the House of the Dead, the Cunning Little Vixen, the Makropulos Case, Galgolitic Mass and other works.
Ep o Gilgamešu ali mala metla brez imena / The Epic of Gilgamesh or The Unnameable Little Broom
Stephen & Timothy Quay (Koninck Studios/Channel Four)
Velika Britanija/UK, 1985, 16 mm, 11’
"Gilgameš najame prostitutko, da ta zapelje divjega gozdnega moža Enkiduja. Lik Gilgameša predstavlja grotesken fašistoiden vodenoglav otroški samodržec na triciklu, ki okrutno paradira po kraljestvu svojega peskovnika. Ob Enkiduju, ki je narejen iz ptičje lobanje, okrašene z eksotično perjanico s školjkami, pomislimo na znani strip Maxa Ernsta Une Semaine de Bonté. Zlobni otrok mu nastavi peklensko past – najprej ga bo premamil z grižljajem surovega mesa, potem pa nastavil loputo v obliki vulve. Film je vse prej kot lahkoten; to je živa nočna mora paranoje in spolnega nasilja. Kamera je poblaznela, a rezultat je prav tisto zbliževanje sanjskega in mitičnega, bizarnega in neizbežnega, h kateremu stremi vse njuno delo." J. D. McClatchy
“Gilgamesh sends a prostitute to seduce the wild man of the forest, Enkidu. The Gilgamesh figure is a sort of grotesque fascist hydrocephalic child despot on a tricycle, ruthless patrolling his sandbox kingdom. Enkidu, made from a bird skull adorned with an exotic headdress of feathers and shells, brings to mind Max Ernst’s renowned collage series Une Semaine de Bonté. The wicked child sets a devilish trap for the creature – a gobbet of raw flesh to lure him, and then a mechanical trapdoor in the shape of a vulva... it is strong stuff, a waking nightmare of paranoia and sexual violence. The camerawork is frenetic, yet the effect is precisely that convergence of the dreamlike and the mythic, the bizarre and the inevitable that all their work aspires to.” –J.D. McClatchy
De Artificiali Perspectiva ali anamorfoza / De Artificiali Perspectiva or Anamorphosis
Stephen & Timothy Quay (Program for Art on Film)
ZDA, Velika Britanija/USA, UK, 1991, 16 mm, 15’
Dokumentarni film za projekt fundacije Getty in newyorškega Metropolitanskega muzeja umetnosti, ki ustvarjalno predstavi zgodovino anamorfoze. Umetnostna tehnika, ki je bila priljubljena v 16. in 17. stoletju, se poslužuje vizualnega popačenja, zaradi katerega slike, če jih gledamo iz različnih kotov, nagajivo razkrivajo prikrite simbole.
A documentary film for a Getty Foundation and Metropolitan Museum of Art New York project, which creatively takes us through the history of anamorphosis. This artistic technique, often used in the 16th- and 17th centuries, utilizes a method of visual distortion with which paintings, when viewed from different angles, mischievously revealed hidden symbols.
In Absentia
Stephen & Timothy Quay (Illuminations Films/Koninck Studios)
Velika Britanija/UK, 2000, 35 mm, 20’
Za film je priznani avantgardni skladatelj Karlheinz Stockhausen zložil glasbo in sodeloval kot dirigent. In Absentia igrane prizore in animacijo združuje z osupljivo svetlobo ter tako upodobi psihologijo ženske, ki sama v sobi spet in spet piše pismo z drobci svinca iz zlomljenega svinčnika. Pred oknom pogled na spreminjajočo se svetlobo spremlja vsa njena občutja. Film je posvečen »E. H., ki je živela v sanatoriju in od tam pisala svojemu možu.«
A collaboration with the celebrated avant-garde composer Karlheinz Stockhausen, who composed and conducted original music for the film. Shot in black and white and color and projected in CinemaScope, In Absentia combines live action and animation with dazzling use of light to convey the mindscape of a woman alone in a room repeatedly writing a letter with broken off pieces of pencil lead, while outside her window vistas of ever changing light register her every emotion. The film is dedicated to »E.H. who lived and wrote to her husband from an asylum.«
