Available on
US Rushes
Three weeks of travel in the USA in June 1997: New York, Vermont, New York, Los Angeles, San Francisco, New York, edited entirely in camera and projected with music from the 60s.
Pip Chodorov
Also Directed by Pip Chodorov
Romanian fairy tales usually start with the sentence: “Once upon a time something happened, if it hadn’t happened it couldn’t be told.” In this fairy tale, a stranger visits the remote mountain village of Slon.
Short documentary by Pip Chodorov showing Patrick Bokanowski's process in making "Un rêve solaire".
Pip Chodorov's profile of Jacques Perconte
A figure with two wings on a church's roof. An opera is suggested, Madame Butterfly. A silent poem that combines effect and (angelical) truth...
The double, the shadow of the subject, refers to the paradox that is at the heart of the human condition: the uniqueness of the viewer and looked, the voyeur seen. Filmed back from New York in Paris in the winter of 1998, this film brings us back to earth, frame by frame, a meditation on the return that focuses our gaze surreptitiously on ourselves.
In "Faux Mouvements", forward and backward motions occur together, movement in different directions are combined. We perceive motion in images that are in fact still. We can also see references to the spiral of the film reel, and the negative and positive of the film process.
About ends and memory, the end of an era. I film to remember: the end of a summer, of a family, a last trip to Vermont before a separation, grandparents getting older.... I film impromptu, dissolving and fading in the camera. At night I hand-develop the film in a beaker. It sticks together and stains, leaving traces and holes that only add to the nostalgia. I leave the film as is, adding only some improvised music, which by its minor harmonies and discordances goes well with the faded, stained pictures.
Experimental filmmaker Pip Chodorov traces the course of experimental film in America, taking the very personal point of view of someone who grew up as part of the experimental film community.
Research complementary to that of the previous film: the fictional hero has the power to stop the projector, plunging the cinema back into its photographic origins, killing movement. Having had the unfortunate idea of taking his self-portrait, he finds himself locked in a photo, condemned to live in this fleeting reality of the photogram.