James Herbert
1938 (86 лет)Porch Glider
James Herbert
A cyclical film, without sound, that goes from day to night and back again. First, from the porch glider, daytime movement is seen--children running and bicycles and cars going by. The nighttime scene is a long poetic and dream-like look at adolescent lovemaking.
Porch Glider
Abandoned House
James Herbert
Maria D'Amato, Pier-Nicola Bruno
Abandoned House is about a group of young people in Italy who exchange stories. The protagonist Maria listens to young men and women who report on sexual abuse and warped pleasure and she seems to feel the need to manipulate their vulnerability and rediscover her own lost love. Pictures of Tuscany and the sensual light within which the young naked figures in the film bathe serve to temper the darker aspects of the film with a tangible lyricism. In the end, the scars of abuse give way to the tenderness of the visual language itself.
Abandoned House
Speedy Boys
James Herbert
Director James Herbert and editor Mark Jordan -- both visual artists who work in other media -- crafted this non-narrative look at Carter and Andy, two American artists summering in an unnamed Tuscany city. The young men discuss art and each other as they explore the city and its women, while the camera explores Carter and Andy.
Speedy Boys
Scars
James Herbert
Carter Davis, Alexandra Rosetti
A young man and woman trade stories about their scars - psychological, sexual and otherwise - in a variety of settings. Their relationship is at once immediate and immediately complicated by the depth of their revelations and their nakedness.
Scars
Fig
James Herbert
In Fig we see a young girl, naked, pregnant; and a young man, also naked. Sometimes they are together, sometimes apart. They sit or stand with downcast eyes, but occasionally exchange a glance that may suggest complicity or perhaps great apprehension. Nothing really happens. Everything has happened or is about to happen, and the picture space seems alternately full of memory, and charged with potentiality. The figures are at once immensely weighted and strangely insubstantial; skin texture dissolves into film texture, and the most solid body may suddenly become a ghostly presence passing like a shadow out of a scene.
Fig
Pear I
James Herbert
Pear I illustrates Herbert's obsession with patterns of color as he dallies over curtains, quilts, toys, flowers and other objects, and over lean, youthful bodies that are perfect physical specimens, changing the aura of the figures with bluish, yellowish, dusky reddish and tannish tones.
Pear I
Silk
James Herbert
In Silk [James Herbert] films a man and a woman, exploding the quality of silk out of the house into the back yard, where everything becomes a sheen of texture. It too has great sensuosity, but it’s like tearing silk, like being up against silk, your face wrapped in it as you watch the screen. (Stan Brakhage)
Silk
John Five
James Herbert
Poppy Z. Brite, John Corry
The theme of erotic love and tenderness, longing and desire, expressed through the innocent awakenings of two young men and a woman in three settings. The figures are, for the most part, nude, and move through lush environments of antique and contemporary rooms.
John Five
