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NATHANIEL DORSKY In his search for a \u2018polyvalent\u2019 mode of filmmaking, Nathaniel Dorsky has developed a filmic language which is intrinsic and unique to the medium, and expressive of human emotion. Seeking wonder not only in nature but in the everyday interaction between people in the metropolitan environment, Dorsky observes the world around him. Free of narrative or theme, his films transcend daily reality and open a space for introspective thought. \u2018Delicately shifting the weight and solidity of the images\u2019, a deeper sense of being is manifest in the interplay between film grain and natural light. Dorsky returns to London to introduce two brand new films and Triste<\/em>, the work that first intimated his sublime and distinctive \u2018devotional cinema\u2019. These lyric films are humble offerings which unassumingly blossom on the screen, illuminating a path for vision.<\/p>\n Nathaniel Dorsky, Winter, USA, 2007, 19 min Nathaniel Dorsky, Sarabande, USA, 2008, 15 min Nathaniel Dorsky, Triste, USA, 1978-96, 19 min NATHANIEL DORSKY Those familiar with Dorsky\u2019s four-decade \u0153uvre will appreciate that while his work stems from reality, it also partakes in a deeper, more wondrous realm \u2013 one that transcends words and physicality with remarkable grace. One of the most gifted 16mm filmmakers of our time, Dorsky is known for camera work that is precise and insightful, guiding us with a vision of the world that is electrified by its possibilities. His films are both silent and projected at silent speed, allowing for what he terms an unimpeded experience of \u2018the flickering threshold of cinema\u2019s illusion.\u2019 His films offer visual symmetries, searing colour, and a sense of pure, unequivocal delight at celestial movement (Sarabande<\/em>) and an earth-bound existence (Winter<\/em>). (Andr\u00e9a Picard, Toronto International Film Festival)<\/p>\n WINTER SARABANDE TRISTE
\nSunday 26 October 2008, at 2pm
\nLondon BFI Southbank NFT3<\/strong><\/p>\n
\n<\/strong>\u2018San Francisco\u2019s winter is a season unto itself. Fleeting, rain-soaked, verdant, a brief period of shadows and renewal.\u2019 (Nathaniel Dorsky)<\/p>\n
\n<\/strong>\u2018Dark and stately is the warm, graceful tenderness of the sarabande.\u2019 (Nathaniel Dorsky)<\/p>\n
\n<\/strong>\u2018The \u2018sadness\u2019 referred to in the title is more the struggle of the film itself to become a film as such, rather than some pervasive mood.\u2019 (Nathaniel Dorsky)<\/p>\nPROGRAMME NOTES<\/a>
\n<\/strong>Sunday 26 October 2008, at 2pm
\nLondon BFI Southbank NFT3<\/p>\n
\nNathaniel Dorsky, USA, 2007, 16mm, colour, silent, 19 min
\n<\/strong>San Francisco\u2019s winter is a season unto itself. Fleeting, rain-soaked, verdant, a brief period of shadows and renewal. (Nathaniel Dorsky)<\/p>\n
\nNathaniel Dorsky, USA, 2008, 16mm, colour, silent, 15 min
\n<\/strong>Dark and stately is the warm, graceful tenderness of the sarabande. (Nathaniel Dorsky)<\/p>\n
\nNathaniel Dorsky, USA, 1978-96, 16mm, colour, silent, 19 min
\n<\/strong>Triste <\/em>is an indication of the level of cinema language that I have been working towards. By delicately shifting the weight and solidity of the images, and bringing together subject matter not ordinarily associated, a deeper sense of impermanence and mystery can open. The images are as much pure-energy objects as representation of verbal understanding and the screen itself is transformed into a \u2018speaking\u2019 character. The \u2018sadness\u2019 referred to in the title is more the struggle of the film itself to become a film as such, rather than some pervasive mood. (Nathaniel Dorsky)<\/p>\n