Actually, a lot of Zombi 3 was also made by Fragasso and Mattei so make sure you take all that on small doses. Too much of the dynamic duo at once can be bad for you health.
Zombie 4 is my favourite of thoseā¦ its more Demon than Zombie though
WAVELENGTH (1967) - A camera is placed at steady spot inside an apartment and progressively zooms in to a picture on the wall. The score constitutes of various droning noises while the screen changes colors every now and then. This is supposed to be a masterpiece of experimental cinema. As you probably understand thereās not many things happening during the film (in fact a couple of things do happen but I wonāt reveal them, itās not more than 3 very short scenes in total anyway). The editing and the zoom were both atrocious. A really painful experience. Iām wondering if there really is an audience for such things in this world? For me it was a criminal waste of celluloid and of 43 min of my life.
There is, but it is obviously a small one.
I looked this up on imdb as your review got me interested. Thereās a thought there that suggests you may be one of the people thatā¦
āā¦ couldnāt accept that beauty and truth can be found in the simplest ideasā
That was under the title āseminal stuffāā¦
ā¦ seems that you found it a bunch of wank as well. 
Yeah, I just read few of those imdb reviewsā¦ have absolutely nothing to say about them. Those people must be from another planet.
Weāve had such a film maker in Holland too, a woman, I donāt remember her name.
She put a camera on a table in a hotel in Rome and came back one day later. She showed the entire film on a festival in Rotterdam. I donāt think anybody sat through it. I gave up after a couple of minutes. Later she edited it back to a 90 minutes movie. I never checked if it felt differently.
The Game (1997) - A classic tale of a death/rebirth initiation, and as implied by the ending, āa true initiation never ends.ā
Not quite as good as I remembered, but still an interesting film
Burke & Hare - Iām familiar with the story but this adaption wasnāt anything like I was expecting it to be but it was still pretty enjoyable. It seems half serious/half bawdy romp with saucy moments and some Carry On style music here and there including a catchy but somewhat out of place theme tune song.
Derren Nesbitt and Glynn Edwards play the Irish bodysnatchers (although Edwards sounds more like a west country bumpkin!) and odd to see Yootha Joyce as Mrs.Burke speaking with a Scotch accent.
The highlights of the film though have to be the few disrobed scenes with the gorgeous Francoise Pascal.
NAKED - The wanderings of a homeless man in the cold streets of London. The filmās a study of a violent, clever and occasionally smartass character that is really hard to identify with. The climax didnāt convince me and found the whole thing a bit overlong. Reviews about the movieās overly negative tone raised my expectations higher than it should and even though I wasnāt totally disappointed, in the end it left a lot to be desired.
[quote=āscherpschutter, post:8227, topic:1923ā]Weāve had such a film maker in Holland too, a woman, I donāt remember her name.
She put a camera on a table in a hotel in Rome and came back one day later. She showed the entire film on a festival in Rotterdam. I donāt think anybody sat through it. I gave up after a couple of minutes. Later she edited it back to a 90 minutes movie. I never checked if it felt differently.[/quote]
Comparing this film with Michael Snow (the director of Wavelenght) is probably like seeing no difference between Leone and Fidani, as both made westerns in Italy.
Well, Iāve never seen Wavelength, but the idea reminded me of that Dutch film maker (I still canāt remeber her name)
I havenāt seen it either.
But Iām interested because of its reputation. And itās only 45 min. 
His masterpiece is supposed to be La region centrale which runs then 3 hours. Some people value him very high.
Maybe boring stuff (Iām generally not interested in experimental films, nor in documentaries), but maybe fascinating ā¦
I like some abstract/experimental stuff like Peter Tscherkassky, Stan Brakhage, Ed Emshwiller, and some others I donāt know the names of right nowā¦ but I donāt watch it much and usually not more than once. While its interesting to watch sometimes, it is also very boring
Well, the first thing is it shouldnāt be boring. If it is boring it is bad.
Checked Michael Snow at Amazon, but no DVDs available, but there is a book on the film: http://www.amazon.de/Michael-Snow-Wavelength-One-Work/dp/1846380561/ref=sr_1_2?ie=UTF8&qid=1351714460&sr=8-2
The description in the book of Wavelenght sounds not that boring:
In 1966, at the height of minimal art in New York, artist Michael Snow chose not to make another object to be placed in a room but instead spent a year planning a film of a room: Wavelength, a forty-five-minute more or less straight-line zoom from the near to the far wall of a loft space, accompanied by a rising sine wave. In this illustrated study, Elizabeth Legge describes Wavelength as a film of virtuosically managed tensions, sensuous beauty, subtle light and color, and recession into perspectival depth. At the same time, she points out, it is also austere: the loft space where the action unfolds could be the last clerical outpost of a defunct business. The zoom is punctuated by what Snow laconically called ā4 human eventsā: a woman directs two men who carry in a bookcase and place it against the left wall of the room; two women come in and listen to the Beatlesā āStrawberry Fieldsā on the radio; a man briefly appears after protracted crashing and glass-breaking noises, wheels around, and drops dead; a young woman comes into the room and makes a frightened telephone call reporting the dead man (āAnd he doesnāt look drunk, he looks dead.ā). Wavelength won the grand prize for experimental film at Knokke-le-Zoute in 1967, and it was crucial to criticsā efforts to establish a vocabulary for temporal art. It was a āwavelengthā that could stand up to the French new wave, and it has has functioned ever since as a touchstone for art and film studies, and as a blue screen in front of which a range of ideological and intellectual dramas have been played.
You can watch it here:
Not necessarilyā¦ Iāve watched a fair few of experimental films that were very interesting visually and also contained some decently thought provoking material, but to me it is still boring to watch that kind of thing for longer than 10 minutes.
I have an old, long interview with Snow that also includes excerpts from his work, and its pretty dull and dry.
I suppose I prefer this kind of film art to be incorporated into an actual film, rather than exist on its own.
I think Iāve told this story here.
JoĆ£o Cesar Monteiro who was one of the finest Portuguese directors, made a film called Branca de Neve (Snow white), that consisted in no image at all we only saw a dark canvas (only interrupted by a few images, but very short one), you only hear a dialogue, the thing was like listening to radio in the cinema, it lasted for more than an hour or something, I did watch it or better saying lesson it to the end.
The thing is that I donāt remember nothing of the dialogue (it was a paly), but I do remember the people reaction in the cinama, screaming shouting, all sort of stuff. there was even a TV crew outside interviewing people about the film. People complained at the time how the Portuguese state spent tax money to support that film or radio film
I think that says it all, Monteiro couldnāt care less about the dialogue, all he wanted was to provoque people and start a discussion, and he did managed to accomplish that
[quote=āEl Topo, post:8238, topic:1923ā]I think Iāve told this story here.
JoĆ£o Cesar Monteiro who was one of the finest Portuguese directors, made a film called Branca de Neve (Snow white), that consisted in no image at all we only saw a dark canvas (only interrupted by a few images, but very short one), you only hear a dialogue, the thing was like listening to radio in the cinema, it lasted for more than an hour or something, I did watch it or better saying lesson it to the end.
The thing is that I donāt remember nothing of the dialogue (it was a paly), but I do remember the people reaction in the cinama, screaming shouting, all sort of stuff. there was even a TV crew outside interviewing people about the film. People complained at the time how the Portuguese state spent tax money to support that film or radio film
I think that says it all, Monteiro couldnāt care less about the dialogue, all he wanted was to provoque people and start a discussion, and he did managed to accomplish that [/quote]
Yes, but starting a discussion is one thing, starting a discussion about things that really matter, and make a difference in that discussion, is another thing.
Itās like being ācontroversialā - itās not difficult to be controversial (just say, for instance, that Darwin was wrong or Jesus was an idiot and you got yourself a controversy), itās important to make a difference in a discussion on a controversial subject, and few people are able to do such a thing
Anyway, I watched a couple of minutes of this 45 minutes movie called wavelength - not my wavelength
I havenāt seen this Portuguese Snow White, but I donāt think it would have been my kind of discussion
Personally, I agree with those that say that the worst thing that can happen to a work of art of any kind is being boring. I think itās even worse than being bad, because if something is bad but at least entretaining it keeps your brain busy. Even if itās not deep thinking itās at least some form of activity. When youāre bored is when your brain doesnāt find any material to work on. Sure, experimental art might be backed up with interesting ideas and concepts, but if the execution is boring then it absolutely fails to achieve what every single artistic expression should which is provoke at least some sort of intellectual activity.