I V A A S K S

Documenting The Masses

— @IvaRad on Twitter.

Tagged Brooklyn Filmmakers Collective:

WATCH IT HERE : https://vimeo.com/53804072

In April I took a little trip down the Mexico. I purposely left the camera at home and brought only a sound recorder and the sick addictive device that is the iphone. The idea was to not spend the entire trip behind the camera lens but to discover what could be created as an alternative…So, I resorted to my other (neglected) loves, illustration, photography and animation. It”s what a day in a small Mexican town felt like.

Last night Union Docs hosted a beautiful screening of shorts by the Brooklyn Filmmakers Collective, it included my short Gawking Red.

I’ve been deeply impressed by two films recently, one fiction and documentary.

Leo Carax's Holy Motors is a must see, a very Brechtian approach to filmmaking. The viewer is never relaxed into a passive indulgence, but is continuously interrupted by new possibilities. The film is densely layered; it addressed our voyeuristic society, our need for sensationalism, how and why we are entertained. It very much comments on acting, roles and audience.


At the same time watching it, the viewer is trying to decipher between multiple realities, that on film and their own. What is real and for who?

What is beautiful and who decides it is so? It also brings to mind the idea of hybrid identities and as Audre Lorde would say, the possibility of being and assuming multiple identities at the same time.


At the other end…

In his 10 advice tips for aspiring filmmakers, the brilliant Russian documentary filmmaker Viktor Kossakovsky says “Don’t film if you want to say something – just say it or write it. Film only if you want to show something, or you want people to see something. This concerns both the film as a whole and every single shot within the film.” Michael Glawogger's Workingman’s Death is a perfect example.  The film covers volumes with its succinct simplicity. Just brilliant.


Enjoy.

Nov 19
WATCH IT HERE : https://vimeo.com/53804072
In April I took a little trip down the Mexico. I purposely left the camera at home and brought only a sound recorder and the sick addictive device that is the iphone. The idea was to not spend the entire trip behind the camera lens but to discover what could be created as an alternative…So, I resorted to my other (neglected) loves, illustration, photography and animation. It”s what a day in a small Mexican town felt like.
Last night Union Docs hosted a beautiful screening of shorts by the Brooklyn Filmmakers Collective, it included my short Gawking Red.
I’ve been deeply impressed by two films recently, one fiction and documentary.
Leo Carax's Holy Motors is a must see, a very Brechtian approach to filmmaking. The viewer is never relaxed into a passive indulgence, but is continuously interrupted by new possibilities. The film is densely layered; it addressed our voyeuristic society, our need for sensationalism, how and why we are entertained. It very much comments on acting, roles and audience.

At the same time watching it, the viewer is trying to decipher between multiple realities, that on film and their own. What is real and for who?
What is beautiful and who decides it is so? It also brings to mind the idea of hybrid identities and as Audre Lorde would say, the possibility of being and assuming multiple identities at the same time.

At the other end…
In his 10 advice tips for aspiring filmmakers, the brilliant Russian documentary filmmaker Viktor Kossakovsky says “Don’t film if you want to say something – just say it or write it. Film only if you want to show something, or you want people to see something. This concerns both the film as a whole and every single shot within the film.” Michael Glawogger's Workingman’s Death is a perfect example.  The film covers volumes with its succinct simplicity. Just brilliant.

Enjoy.

It’s been a super busy year so far. Since last year I’ve been working with Benjamin Moylen on a short film that addresses schizophrenia. It’s not finally complete, in its 13 minutes of length. Here is a very small excerpt from a the film. Ben is a character portrait of a person living with schizophrenia. The film addresses behaviors and challenges associated with the condition and illustrates how it is channelled into an artistic process.


I was lucky to have lots of advice and assistance on the film namely from the Brooklyn Filmmakers Collective, my comrades from Hunter’s IMA MFA Program and the brilliant Laura Poitras.

You might enjoy the teaser ::: http://vimeo.com/45010218

On a filmic note :::
Yes, I’m late with this one…but…Michael Haneke's Cache is a must see, (he also just won Palme d’Or at Cannes for his new film Amour)
Brilliantly constructed, it investigates social infrastructures as a direct result of of French colonial practices and
how these translate into the modernity as social tensions, immigration intolerance, phobia of the outsider and pseudo liberalism…
all this through a window of a guilty conscious of the protagonist.

Here’s an interesting interview with the director.
An insightful quote from it :::
In all of my films, I try to fuel mistrust in our faith in reality. We know nothing about the world, except the things we have experienced directly. And we can examine these things. But everything else we experience through the media. And this functions like Chinese whispers, a piece of information is related from one person to the next. You only have to look at what Bush does with that. I see it as my aesthetic duty to reflect this. It’s no coincidence that post-War literature signalled the end of classical narrative literature. It came from the experience of fascism, and the same applies to film.

Enjoy.

May 14
It’s been a super busy year so far. Since last year I’ve been working with Benjamin Moylen on a short film that addresses schizophrenia. It’s not finally complete, in its 13 minutes of length. Here is a very small excerpt from a the film. Ben is a character portrait of a person living with schizophrenia. The film addresses behaviors and challenges associated with the condition and illustrates how it is channelled into an artistic process.
I was lucky to have lots of advice and assistance on the film namely from the Brooklyn Filmmakers Collective, my comrades from Hunter’s IMA MFA Program and the brilliant Laura Poitras.
You might enjoy the teaser ::: http://vimeo.com/45010218
On a filmic note :::Yes, I’m late with this one…but…Michael Haneke's Cache is a must see, (he also just won Palme d’Or at Cannes for his new film Amour)Brilliantly constructed, it investigates social infrastructures as a direct result of of French colonial practices andhow these translate into the modernity as social tensions, immigration intolerance, phobia of the outsider and pseudo liberalism…all this through a window of a guilty conscious of the protagonist.
Here’s an interesting interview with the director.An insightful quote from it :::”In all of my films, I try to fuel mistrust in our faith in reality. We know nothing about the world, except the things we have experienced directly. And we can examine these things. But everything else we experience through the media. And this functions like Chinese whispers, a piece of information is related from one person to the next. You only have to look at what Bush does with that. I see it as my aesthetic duty to reflect this. It’s no coincidence that post-War literature signalled the end of classical narrative literature. It came from the experience of fascism, and the same applies to film.”
Enjoy.
WATCH IT HERE : https://vimeo.com/53804072
In April I took a little trip down the Mexico. I purposely left the camera at home and brought only a sound recorder and the sick addictive device that is the iphone. The idea was to not spend the entire trip behind the camera lens but to discover what could be created as an alternative…So, I resorted to my other (neglected) loves, illustration, photography and animation. It”s what a day in a small Mexican town felt like.
Last night Union Docs hosted a beautiful screening of shorts by the Brooklyn Filmmakers Collective, it included my short Gawking Red.
I’ve been deeply impressed by two films recently, one fiction and documentary.
Leo Carax's Holy Motors is a must see, a very Brechtian approach to filmmaking. The viewer is never relaxed into a passive indulgence, but is continuously interrupted by new possibilities. The film is densely layered; it addressed our voyeuristic society, our need for sensationalism, how and why we are entertained. It very much comments on acting, roles and audience.

At the same time watching it, the viewer is trying to decipher between multiple realities, that on film and their own. What is real and for who?
What is beautiful and who decides it is so? It also brings to mind the idea of hybrid identities and as Audre Lorde would say, the possibility of being and assuming multiple identities at the same time.

At the other end…
In his 10 advice tips for aspiring filmmakers, the brilliant Russian documentary filmmaker Viktor Kossakovsky says “Don’t film if you want to say something – just say it or write it. Film only if you want to show something, or you want people to see something. This concerns both the film as a whole and every single shot within the film.” Michael Glawogger's Workingman’s Death is a perfect example.  The film covers volumes with its succinct simplicity. Just brilliant.

Enjoy.
WATCH IT HERE : https://vimeo.com/53804072
In April I took a little trip down the Mexico. I purposely left the camera at home and brought only a sound recorder and the sick addictive device that is the iphone. The idea was to not spend the entire trip behind the camera lens but to discover what could be created as an alternative…So, I resorted to my other (neglected) loves, illustration, photography and animation. It”s what a day in a small Mexican town felt like.
Last night Union Docs hosted a beautiful screening of shorts by the Brooklyn Filmmakers Collective, it included my short Gawking Red.
I’ve been deeply impressed by two films recently, one fiction and documentary.
Leo Carax's Holy Motors is a must see, a very Brechtian approach to filmmaking. The viewer is never relaxed into a passive indulgence, but is continuously interrupted by new possibilities. The film is densely layered; it addressed our voyeuristic society, our need for sensationalism, how and why we are entertained. It very much comments on acting, roles and audience.

At the same time watching it, the viewer is trying to decipher between multiple realities, that on film and their own. What is real and for who?
What is beautiful and who decides it is so? It also brings to mind the idea of hybrid identities and as Audre Lorde would say, the possibility of being and assuming multiple identities at the same time.

At the other end…
In his 10 advice tips for aspiring filmmakers, the brilliant Russian documentary filmmaker Viktor Kossakovsky says “Don’t film if you want to say something – just say it or write it. Film only if you want to show something, or you want people to see something. This concerns both the film as a whole and every single shot within the film.” Michael Glawogger's Workingman’s Death is a perfect example.  The film covers volumes with its succinct simplicity. Just brilliant.

Enjoy.

WATCH IT HERE : https://vimeo.com/53804072

In April I took a little trip down the Mexico. I purposely left the camera at home and brought only a sound recorder and the sick addictive device that is the iphone. The idea was to not spend the entire trip behind the camera lens but to discover what could be created as an alternative…So, I resorted to my other (neglected) loves, illustration, photography and animation. It”s what a day in a small Mexican town felt like.

Last night Union Docs hosted a beautiful screening of shorts by the Brooklyn Filmmakers Collective, it included my short Gawking Red.

I’ve been deeply impressed by two films recently, one fiction and documentary.

Leo Carax's Holy Motors is a must see, a very Brechtian approach to filmmaking. The viewer is never relaxed into a passive indulgence, but is continuously interrupted by new possibilities. The film is densely layered; it addressed our voyeuristic society, our need for sensationalism, how and why we are entertained. It very much comments on acting, roles and audience.


At the same time watching it, the viewer is trying to decipher between multiple realities, that on film and their own. What is real and for who?

What is beautiful and who decides it is so? It also brings to mind the idea of hybrid identities and as Audre Lorde would say, the possibility of being and assuming multiple identities at the same time.


At the other end…

In his 10 advice tips for aspiring filmmakers, the brilliant Russian documentary filmmaker Viktor Kossakovsky says “Don’t film if you want to say something – just say it or write it. Film only if you want to show something, or you want people to see something. This concerns both the film as a whole and every single shot within the film.” Michael Glawogger's Workingman’s Death is a perfect example.  The film covers volumes with its succinct simplicity. Just brilliant.


Enjoy.

It’s been a super busy year so far. Since last year I’ve been working with Benjamin Moylen on a short film that addresses schizophrenia. It’s not finally complete, in its 13 minutes of length. Here is a very small excerpt from a the film. Ben is a character portrait of a person living with schizophrenia. The film addresses behaviors and challenges associated with the condition and illustrates how it is channelled into an artistic process.
I was lucky to have lots of advice and assistance on the film namely from the Brooklyn Filmmakers Collective, my comrades from Hunter’s IMA MFA Program and the brilliant Laura Poitras.
You might enjoy the teaser ::: http://vimeo.com/45010218
On a filmic note :::Yes, I’m late with this one…but…Michael Haneke's Cache is a must see, (he also just won Palme d’Or at Cannes for his new film Amour)Brilliantly constructed, it investigates social infrastructures as a direct result of of French colonial practices andhow these translate into the modernity as social tensions, immigration intolerance, phobia of the outsider and pseudo liberalism…all this through a window of a guilty conscious of the protagonist.
Here’s an interesting interview with the director.An insightful quote from it :::”In all of my films, I try to fuel mistrust in our faith in reality. We know nothing about the world, except the things we have experienced directly. And we can examine these things. But everything else we experience through the media. And this functions like Chinese whispers, a piece of information is related from one person to the next. You only have to look at what Bush does with that. I see it as my aesthetic duty to reflect this. It’s no coincidence that post-War literature signalled the end of classical narrative literature. It came from the experience of fascism, and the same applies to film.”
Enjoy.
It’s been a super busy year so far. Since last year I’ve been working with Benjamin Moylen on a short film that addresses schizophrenia. It’s not finally complete, in its 13 minutes of length. Here is a very small excerpt from a the film. Ben is a character portrait of a person living with schizophrenia. The film addresses behaviors and challenges associated with the condition and illustrates how it is channelled into an artistic process.
I was lucky to have lots of advice and assistance on the film namely from the Brooklyn Filmmakers Collective, my comrades from Hunter’s IMA MFA Program and the brilliant Laura Poitras.
You might enjoy the teaser ::: http://vimeo.com/45010218
On a filmic note :::Yes, I’m late with this one…but…Michael Haneke's Cache is a must see, (he also just won Palme d’Or at Cannes for his new film Amour)Brilliantly constructed, it investigates social infrastructures as a direct result of of French colonial practices andhow these translate into the modernity as social tensions, immigration intolerance, phobia of the outsider and pseudo liberalism…all this through a window of a guilty conscious of the protagonist.
Here’s an interesting interview with the director.An insightful quote from it :::”In all of my films, I try to fuel mistrust in our faith in reality. We know nothing about the world, except the things we have experienced directly. And we can examine these things. But everything else we experience through the media. And this functions like Chinese whispers, a piece of information is related from one person to the next. You only have to look at what Bush does with that. I see it as my aesthetic duty to reflect this. It’s no coincidence that post-War literature signalled the end of classical narrative literature. It came from the experience of fascism, and the same applies to film.”
Enjoy.

It’s been a super busy year so far. Since last year I’ve been working with Benjamin Moylen on a short film that addresses schizophrenia. It’s not finally complete, in its 13 minutes of length. Here is a very small excerpt from a the film. Ben is a character portrait of a person living with schizophrenia. The film addresses behaviors and challenges associated with the condition and illustrates how it is channelled into an artistic process.


I was lucky to have lots of advice and assistance on the film namely from the Brooklyn Filmmakers Collective, my comrades from Hunter’s IMA MFA Program and the brilliant Laura Poitras.

You might enjoy the teaser ::: http://vimeo.com/45010218

On a filmic note :::
Yes, I’m late with this one…but…Michael Haneke's Cache is a must see, (he also just won Palme d’Or at Cannes for his new film Amour)
Brilliantly constructed, it investigates social infrastructures as a direct result of of French colonial practices and
how these translate into the modernity as social tensions, immigration intolerance, phobia of the outsider and pseudo liberalism…
all this through a window of a guilty conscious of the protagonist.

Here’s an interesting interview with the director.
An insightful quote from it :::
In all of my films, I try to fuel mistrust in our faith in reality. We know nothing about the world, except the things we have experienced directly. And we can examine these things. But everything else we experience through the media. And this functions like Chinese whispers, a piece of information is related from one person to the next. You only have to look at what Bush does with that. I see it as my aesthetic duty to reflect this. It’s no coincidence that post-War literature signalled the end of classical narrative literature. It came from the experience of fascism, and the same applies to film.

Enjoy.