The Skin of the Frame

Beginning off-screen and beyond then thrusting inward; a movement that forever ruptures the sanctity of the skin of the frame.


Cool It Carol! (Pete Walker, 1970)

Revelation, here, becomes a varied discovery of both the places you have dreamed about and the failings you fear revealed.


Bronco Bullfrog (Barney Platts-Mills, 1970)

Only the briefest respite offered here because the world just spins too tight and small and slowly for us all.


Bronco Bullfrog (Barney Platts-Mills, 1970)

Bike1Bike2Bike3Bike4Bike5Bike6Few moments in film really capture the sweetness of a freedom at once lyrical, liberating, limiting yet, ultimately, inevitably, lost.


The Case of the Bloody Iris/Perché quelle strane gocce di sangue sul corpo di Jennifer? (Guiliano Carnimeo, 1972)

The eloquence of this striking sequence is found in the mannered interplay between visual extremity, directed expression and studied response.Iris 1Iris 2Iris 3Iris 4Iris 5Iris 6Iris 7Iris 8


Edwige Fenech, Anita Strindberg & Luigi Pistilli – Il tuo vizio è una stanza chiusa e solo io ne ho la chiave/Your Vice Is a Locked Room and Only I Have the Key (Sergio Martino, 1972)

Vice - Ekberg 2 A seemingly obvious arc from disillusionment to death becomes suitably complicated by a mannered insistence on direction, expression and viewpoint. 

Vice - Ekberg


Went the Day Well? (Alberto Cavalcanti, 1942) versus E tu vivrai nel terrore – L’aldilà/The Beyond (lucio Fulci, 1981)

The fight against the violation of place and time occurs within spaces also facing the prospect of impossibility becoming commonplace.

Cav 1fulci 1Cavalcanti 2Fulci 3