06/04/2020

Deliveries during COVID-19 situation/délais commandes pendant COVID-19


Hello dear REVOIR friends,
We hope that you are all finding a way to safe and healthy during the difficulties posed by the current COVID-19 situation.  We think that it's a good idea to stay home as much as possible to help fight the spread of the virus in your area.  Being at home is a good time to watch films or shoot your own.  I'm still processing orders for shipment via the regular delivery channels offered by La Poste.  That being said, please understand that La Poste is working in a limited capacity and so slightly longer delays can be expected.  ln addition, certain services will not be available.  This includes deliveries that require signature and deliveries to certain countries.  More details can be found here : https://aide.laposte.fr/categorie/covid-19/  For traceable shipping services like Colissimo and Delivengo, please be sure to provide a telephone number for the delivery person. We would like to offer our thanks to those helping to keep delivery services going in these difficult times.  You are all heros to me.  This will all surely pass.  In the meantime, stay home, stay safe and stay tuned for news on our new releases and activities.
All the best,
Jim
Head of Sales
RE:VOIR

Bonjour chèr(e)s ami(e)s de REVOIR,

Nous espérons que vous trouverez tous un moyen d’être en sécurité et en bonne santé pendant les difficultés posé par la situation actuelle du COVID-19. Nous pensons que c'est une bonne idée de rester à la maison autant que possible pour aider à lutter contre la propagation du virus dans votre région. Être à la maison est un bon moment pour regarder des films ou tourner les vôtres. Je continue de traiter les commandes d'expédition via les canaux de livraison réguliers proposés par La Poste. Cela étant dit, sachez que La Poste travaille avec une capacité limitée et que des retards légèrement plus longs sont prévus. En plus, certains services ne seront pas disponibles. Cela inclut les livraisons qui nécessitent une signature et des livraisons dans certains pays. Plus de détails peuvent être trouvés ici: https://aide.laposte.fr/categorie/covid-19/ Pour les services d'expédition avec suivi comme Colissimo et Delivengo, assurez-vous de fournir un numéro de téléphone pour le livreur. Nous tenons à remercier tous ceux qui contribuent à maintenir les services de livraison en ces temps difficiles. Vous êtes tous des héros pour moi. Tout cela passera sûrement. En attendant, restez à la maison, restez en sécurité et restez avec nous pour des nouvelles sur nos sorties et activités.
Bien à vous,
Jim
Chef des ventes
RE: VOIR

09/03/2020

DVD release/Sortie DVD Boris Lehman - Magnum Begynasium Bruxellense

Boris Lehman - Magnum Begynasium Bruxellense

We are excited to add another title to our growing list of Boris Lehman releases with the publishing of the DVD "Magnum Begynasium Bruxellense".

Nous sommes ravis d'ajouter un autre titre à notre liste de titres de Boris Lehman avec la sortie du DVD "Magnum Begynasium Bruxellense".


A living chronicle of the residents of the Béguinage neighbourhood – so named because it is situated on the site of the former Brussels béguinage. Designed as an encyclopaedic inventory, the film comprises around thirty chapters, each imbricated with the other, like so many pieces of a puzzle, or resembling a termite mound with many intersecting galleries. It takes place within the space and interstices of a day, starting at dawn and ending at night.
-Boris Lehman

Chronique vivante des habitants du quartier du Béguinage – ainsi dénommé parce qu’il est situé sur l’emplacement de l’ancien bé- guinage de Bruxelles. Conçu comme un inventaire encyclopédique, le lm est com- posé d’une trentaine de chapitres imbri- qués les uns dans les autres comme autant de pièces d’un puzzle, ou encore à l’image d’une termitière aux galeries nombreuses et croisées. Il se déroule dans l’espace et dans les interstices d’une journée, commençant à l’aube pour se terminer la nuit.
-Boris Lehman

Image result for Magnum Begynasium Bruxellense

DVD available here/DVD disponible ici : acheter ici/order here

26/02/2020

Deux tires Maurice Lemaître maintenant disponibles/Two new Maurice Lemaitre DVD titles now available

REVOIR is happy to add two new DVD titles of Maurice Lemaître to our catalog
Films imaginaires is a collection of 5 short film works :

FILMS
AU-DELÀ DU DÉCLIC (10 mins, 1965-78, 16mm)
UN NAVET (31 mins, 1975-77, 16mm)
FILMS IMAGINAIRES (30 mins, 1985, 16mm)
FIN DE TOURNAGE (27 mins, 1985-90, 16mm)
L’AYANT-DROIT (22 mins, 1991, 16mm)
DVD available here : https://bit.ly/391p2Y3


DVD and Blu-Ray combo of LE FILM EST DÉJÀ COMMENCÉ ? (1951) Digital Restoration master made by Light Cone and the CNC
bonus : PORTRAIT OF MAURICE LEMAÎTRE by Pip Chodorov (2004, 15 min, 16mm/DV)

DVD/Blu-ray combo available here : https://bit.ly/32tID0h

10/01/2020

Catalogue VOD - Re:Voir Video





Notre catalogue VOD s'agrandit chaque mois ! N'hésitez pas à y jeter un coup d'oeil !
Our VOD catalog is growing every month! Take a look!

Disponible / Available  :

Chaque film est en qualité Blu-Ray 1080p et d'une numérisation HD récente du film.
Each film is in Blu-Ray 1080p quality and from a recent HD scan of the film.













A venir / Coming Soon : 


Marcel Hanoun - Octobre à Madrid
(disponible / Available the 15/01/20)

Virgil Widrich - Short Film
(disponible / Available the 15/02/20)

Maurice Lemaitre - Films Imaginaires
(disponible / Available the 15/03/20)




23/10/2019

Sortie DVD Dominic Angerame - Cityscape



AVAILABLE NOW:
CITYSCAPES by DOMINIC ANGERAME
En boutique à Paris et sur notre boutique en ligne
Catalogue VOD disponible ici

Dominic Angerame (b. Albany, New York, USA, 1949) is an American experimental filmmaker who has directed more than 35 films since 1969, and has presented films in film festivals worldwide. In 2006, Angerame presented his films Pixiescope, Waifen Maiden, Consume, and Anaconda Targets at the Havana Film Festival, re-opening the festival to experimental cinema.

"Cityscapes" Compilation: 9 short films by Dominic Angerame 

Angerame's cinema cannot be categorized as simply experimental, which implies trials with unpredictable results. but rather is better described as a visual invitation to a non-narrative cinema. Indeed, we very quickly perceive that, in this filmmaker's filmography, the city is a field of experimentation that he manipulates, transforms and redefines through the contrast between his nervous and destructive montage and his delicate and poetic superimpositions.

The image sketched by Angerame is a combination of documentary and poetry, an aesthetic alliance between realism and phantasmagoria, a reminiscence of both the raw documentary cinema of Russian avant-garde filmmaker Dziga Vertov and Jean Cocteau's poetry.

Angerame himself designates a certain body of his work as "City Symphony," a clear indication of the filmmaker’s desire to present us with a new view on the defined and concrete spaces of a living world, very much in-the-making, in flux, and which we experience every day. Combined with the temporal detachment produced by Angerame’s editing, his confrontation of image and superimposition, we see what Stan Brakhage called "apparent lightness."


Dominic Angerame (né à Albany, États-Unis, 1949) est un cinéaste expérimental américain. Il a réalisé plus de 35 films depuis 1969 et l'a présenté dans des festivals de films du monde entier. Angerame a présenté ses films avec Pixiescope, Waifen Maiden, Consume et Anaconda Targets au Festival du film de La Havane en 2006.

Le cinéma d'Angerame est un cinéma qu'on ne pourrait qualifier de cinéma expérimental, qui tiendrait plus de l'ordre de la tentative alors qu'ici, il s'agirait plutôt d'une invitation visuelle à un cinéma non-narratif. En effet, il nous parait très rapidement que la ville, dans la filmographie du cinéaste, est un terrain d'expérimentation qu'il manipule, transforme et redéfinie par le contraste de son montage nerveux et destructeur et de la présence des surimpression délicate et poétique.

L'image dessiné par Angerame est d'une forme alliant documentaire et poésie, une alliance esthétique entre réalisme et fantasmagorie, rappelant à la fois le cinéma brut et documentaire de Dziga Vertov, cinéaste avant-garde russe et la poésie de Jean Cocteau.

D'ailleurs, Angerame nommera lui-même une partie de son travail “City Symphonie”, ce qui témoigne de cette volonté du cinéaste de vouloir nous offrir un regard nouveau sur des espaces définis et concrets d'un monde vivant, en travail, en changement et que nous côtoyons tous les jours, et cela, avec un détachement temporelle produit par ce montage, cette confrontation d'image et de surimpression que Stan Brakhage qualifiera d' “apparente légèreté”.



 Article et bande-annonce par Kevin Kabengele

03/10/2019

Sortie DVD Virgil Widrich Short Films

AVAILABLE NOW:
SHORT FILMS by VIRGIL WIDRICH
En boutique et sur notre site en ligne


Virgil Widrich is an Austrian film-maker and multimedia artist. 
He started his film-making career very early at the age of 13 by shooting on a super-8 camera.

The DVD includes eight short films, as well as two bonus works by Widrich.

"Probably the single most startling new discovery was 12-minutes short [Copy Shop] by young Austrian director Virgil Widrich. The film consists of 18.000 photocopied frames, making it neither strictly live action nor animation, and the blurry black-and-white makes it look like a lost Murnau film."
-The Guardian
Virgil Widrich est un réalisateur et artiste multimédia autrichien.
Il débuta dans la réalisation des films très tôt, avec l'âge de 13 ans en se servant d'une caméra super-8. 

Compilation DVD de 8 courts métrages et de 2 titres bonus du cinéaste Virgil Widrich.

"La nouvelle découverte la plus surprenante a probablement été le court-métrage de 12 minutes [Copy Shop] du jeune réalisateur autrichien Virgil Widrich. Le film se compose de 18.000 images photocopiées, ne constituant donc ni un film classique, ni une animation, mais dont les images floues en noir et blancnous rappelent d’un film perdu de Murnau."
-The Guardian

25/09/2019

Sortie DVD Marcel Hanoun OCTOBRE À MADRID

NOW AVAILABLE !!
OCTOBRE À MADRID de MARCEL HANOUN
En boutique et sur notre site : https://bit.ly/2oa30Qm

We are happy to follow up our recent release of Marcel Hanoun's UNE SIMPLE HISTOIRE with a DVD featuring another of Hanoun's earlier films, OCTOBRE À MADRID.  This DVD was made possible with collaboration from INA and the Association Marcel Hanoun.

Nous sommes heureux de donner suite à notre sortie récente du DVD A SIMPLE HISTORY avec un DVD présentant un autre film du début de la carrière de Hanoun, OCTOBER À MADRID. Ce DVD a été rendu possible grâce à la collaboration de l'INA et l'Association Marcel Hanoun.

"By immediately attacking our comfort as a spectator by breaking with the classic narrative style, he proposes a reflection on the creative process, on the making of a film, on this mixture of natural and artificial characterizing of cinema…"
by Vinz J. Orlof

"En s’attaquant immédiatement à notre confort de spectateur rompu à la narration classique, il se propose d’être une réflexion sur le processus créatif, sur le film en train de se faire, sur ce mélange de naturel et d’artifices caractérisant le cinéma…"
Par
Vinz J. Orlof

06/09/2019

KAHL film stock available

Looking for a healthy dose of that vintage look for a shoot, try out some of KAHL's Super 8 and Double 8 film we have in stock. Sold with processing included. Available here : https://bit.ly/2k3jyrj

31/07/2019

Reflections on Paul Clipson’s "Landscape Dissolves"

Glittering with light, simmering with passion, and haunted by memories, Paul Clipson’s films are enigmatic. Like prisms they can be studied from a number of angles without becoming transparent. Like ephemerality they may be ungraspable in their totality. Accordingly, they tempt me to only discuss them in terms of formal particularities. It would even be foolhardy to ignore Clipson’s singular rhythmic tendencies and his constant collaboration with musicians. It would be equally remiss to ignore his stunning play with light. Nevertheless, the films in Landscape Dissolves contain a gestalt that organizes and even enables these parts to create a coherent body of work. Simply put, Landscape Dissolves demonstrates a mode of perception wherein subjective mental states merge with physical experience. Each of his films investigates, enriches, and iterates this study. To understand Clipson’s simultaneously multi-dimensional and focused body of work we must first orient him around those who have tread similar waters. Filmmakers Stan Brakhage and Nathaniel Dorsky have both written about their artistic practices, and their writings will build a foundation from which to consider Clipson’s oeuvre. Formal analysis of his films themselves will demonstrate the ways in which Clipson’s work aligns with sentiments expressed by Dorsky and Brakhage and how it deviates. Finally, and in conclusion, some words from Alain Badiou will emphasize the value of a filmmaker like Clipson.
 
When considered in terms of experimental cinema’s relatively brief history, Clipson’s phenomenological play can be related most recognizably to the writings of Stan Brahkage and Nathaniel Dorsky. Brakhage’s expansion of the idea of camera-as-eye is vital for understanding Clipson’s work. In Metaphors on Vision, Brakhage ascribes the camera with the potential to approximate the original perception of childhood. An innocent gaze[1]. The camera’s images, especially as they are projected and received by a retina, cannot be literal documentations of some reality, but they can start to suggest an almost sacred kind of perception. Thus even in the most biological, and thereby physical, analogy for the camera, psychological states are present. Congruently, Nathaniel Dorsky writes, “when cinema can make the internalized medieval and externalized Renaissance ways of seeing unite and transcend themselves, it can achieve a transcendental balance.”[2] Dorsky thereby explicitly states that when the psychological meets the physical we reach a kind of new knowledge. Clipson’s works are not simply modernizations of Brakhage or formal variants on Dorksy, but in order to suss out the way Clipson’s work deepens these perspective we must turn to the films themselves.
 

Play between interior and exterior is the crux of Clipson’s films. Each film is an iteration of this theme, an experiment in perception, but Absteigend illustrates this unifying gestalt in its structure and is therefore a good place to begin study. Absteigend could be seen as a simple study of urban architecture and its lights, darks, lines, and movements. And the first half of the film appears as such. High-contrast shots of urban abstraction are dense with grain. Trains roll by like modernist caterpillars. However, about half way through the film Clipson presents us with the reflection of this imagery in the water of some mud puddles. The angle and height of the camera suggests a human perspective, and the inverted and distorted imagery is a perfect metaphor for the inverted and imperfect images received by the human retina. After this moment we are treated to superimpositions and densely layered imagery. Before the images crawled, now they dance. We also see human figures for the first time. Brute physicality is put into motion by human experience and consciousness. A city becomes a symphony. In Absteigend the message is clear, perception animates the inanimate.
While Absteigend emphasizes a rift between the physical world its subjective counterpart, Chorus dissolves tension between these worlds into harmony. In the beginning of Chorus we fade through a mixture of spiritual, scientific, and organic visual metaphors for the eye. Church windows diffuse soft red light. The moon on a cloudy night fades into a circular fluorescent bulb. The visual effect of a rack focus even causes this light to appear as a human eye for a few moments. Puddles of water refract shimmering gold orbs. This combination of signifiers for vision or its augmentation speaks to the combination of inner/outer perception Dorsky references and is the kind of high knowledge Brakhage talks about in Metaphors on Vision. Religion and spirituality are a way in which we filter the refractions of an elusive physical world. Technology and industry are not barriers to this world so much as another refraction or augmentation of it. Chorus elucidates this experience of the world through the lens of civilization and religion, but the phenomenon apprehended remains concrete, powerful, and undeniable.

Origin inserts cogent thought directly into material experience. Human construed time converses with pure duration. Images of a woman walking away from the camera replay obsessively as in a memory of a lost love or family member. The actual world interjects in and merges with this Proustian memory through the rhythmic, constant, and reliable crashing of waves on a beach and the molecular ripples of the water. The soft droning of the music follows neither the woman nor the water and it serves rather to connect them in their different yet equated representations of time. The rhythms of subjective time and material time flow in and out of each other in tidal fashion.

Thusly, Paul Clipson does not have one view of the way vision or experience operates, which perhaps, is why we have no written manifesto from him. Instead we have collaborations and experiments. Every film in Landscape Dissolves is set to a soundtrack produced independently from the film. The music is not a score or accompaniment but another phenomenological layer. Clipson would screen his films with live musical performances without manipulating either element beforehand to suit the other. True conversation. Clipson plays in the perceptive world noted by Brakhage and Dorsky. He gives us ideas and experiences to reflect upon. Film philosopher Alain Badiou writes that there “is no real opposition between constructed time and pure duration since it can install one within the other, something that is always done by the great filmmakers, really only the greatest ones.”[3] Each one of Clipson’s films show a new relationship between discontinuity, or interiority, and exteriority or continuity, and in this way Clipson’s films as a whole show a deeper knowledge of time and perception than any single manifesto or roll of celluloid could. In this way they are crystalline but never opaque, eclectic yet focused, brilliant and enigmatic.
 -Collin Kluchman
[1]
Brakhage, Stan. Stan Brakhage: Metaphors on Vision. (Light Industr.
2]
Dorsky, Nathaniel. Devotional Cinema. (Berkeley, CA: Tuumba, 2005), 27.
3]
Badiou, Alain, Antoine De. Baecque, and Susan Spitzer. Cinema. (Cambridge: Polity, 2013), 219.

DVD available here : LANDSCAPE DISSOLVES DVD
Released in collaboration with Students of Decay records : https://studentsofdecay.com/

23/07/2019

« Films sans projection », la nouvelle exposition à la Film Gallery

Boucle "Blue et Jon" de Hector Castells Matutano

La nouvelle exposition « Films sans projection » a été inaugurée le 4 juillet à la Film Gallery. C'est un projet collectif d'artistes amoureux du cinéma expérimental. Ils proposeront chacun une pièce pour représenter leur idée du film sans support de diffusion. Lors du vernissage, les visiteurs ont eu la chance de voir trois performances différentes. Autour de l'exposition, plusieurs événements et ateliers seront organisés par les artistes pour découvrir leurs œuvres et échanger autour de l’idée de “films sans projection”.



Les artistes participants:

Louis Benassi
Tomaz Burlin
Hektor Castells-Mututano
François Delagnes
Distruktur
Nathaniel Draper
Marguerite Harris
Lijana Jakovlevna Siuchina
Jia Li
Marc Plas
Anna Thew
Jim Stickel
Diana Vidrascu
Jake Wiener
Olivier Cans


Exposition au 43 rue du Faubourg St Martin
jusqu'au 28 août
jusqu'au 21 juin