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In the mids, Kuchar turned to videomaking, and created what is possibly the largest single collection of video diaries.

And yet below the farcical surface lie witty, profound and moving meditations on human existence. Tornados interrupt steamy affairs, and intimate nature hikes reveal torrid urges.

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In the Weather Diaries, the midwestern zesr which fascinate and terrify George are matched only by his romantic turmoil and epic bouts of gastric distress. A young man in a small town is obsessed with storm shelters.

held 7 p.m. Fri., April 4, at Huber-Benson Funeral Home in El Reno. her mind and body in the last eight years, she never lost her zest and. Daily newspaper from El Reno, Oklahoma that includes local, state, and national news along with advertising. Sam had an unmatched zest for life and learning. to: Youth and Family Services; ATTN: Dee Anna Blose; P.O. Box ; El Reno, Okla.

Even when his father sends him to a hooker to straighten him out, all he can do is examine her room to see how it would withstand a storm. Meanwhile, a shy, sensitive young woman finds solace only via her heroin dealer.

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The Kuchars rain destruction on Tempest in a do-it-yourself filmmaking extravaganza that, in visual interest and emotional effect, quite outstrips oof more technically sophisticated productions. From here, the plot takes a jarring though typical turn for the left field. The hooker is converted to a sort of Mother Teresa figure for the storm victims, but with a murderous desire to hide her dark past.

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Suddenly there are hand grenades o — literal ones on the screen, and a figurative one tossed by the Kuchars at their own film. The one documented here was certainly worth the trip, but even more amazing is the music soundtrack.

Kitschy, catchy, quirky and virtuosic all at once, the music clues us in that however spectacular the storm, the real subject here is the pure joy locanto escort albury filmmaking. The bizarre-but-hilarious self portrait which Kuchar inserts midway through Wild Night is fl typical, and the repetition of this image in symmetrical fashion anticipates the formal properties of the later video diaries.

Since we can easily empathize with their plight, the discomfort can be both zext and disturbing to watch. There is only the slow steady drizzle of the rainy season. However, even the applause of the audience cannot console him.

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As in Rainy Season, a holiday is the occasion for deep sadness. George is on his annual trip to El Reno, Oklahoma, to observe the summer storms. Season of Sorrow is a fog, understated work containing few hints of the sexual or gastric excesses found in other weather diary tapes.

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Far from home, alone, and grieving — what can provide any comfort in this desolation? An incongruous Christmas tree, plastic statues of religious figures, candles everywhere.

Kitsch items like this lookint a constant presence in the diaries, and are always double-edged. Kuchar recognizes their ridiculousness, but knows their value as well.

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George ends the video with a dedication: To Blackie — I miss you so much. Examples are numerous, but most explicitly, George himself appears and disappears several times, in sequences rneo exquisite poignancy and visual beauty.

It was to be a screen-test for a girl in the class. She wanted something to show producers of theatrical productions, as the girl was interested in an acting career. By the time all the heavy equipment was set up the class was just about over; all we had was ten minutes I had to get into the act to speed things up so, in a way, this film gives an insight into my directing techniques while under pressure.

At first glance, I, An Actress appears to be a casual record of a class exercise. But as always with Kuchar, a closer viewing reveals unexpected depths.

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looming The earliest film in our series, Rumpot was made inwhen George and Mike, the twin brothers Kuchar, were all of eighteen years old. Though their films would grow in thematic complexity, Rumpot already shows the visual energy, dynamic music, and anarchic, twisted plot development that so endear the Kuchars to audiences.

The outlandish makeup and onscreen behavior would make the Jack Smith of Flaming Creatures proud. In this context, a sudden moment of feigned modesty when one woman is discovered undressing is ironic indeed.

But the bonds of love extract a terrible price to be paid in lf. A vow weighs heavily on the heart. Sylvia makes a promise but can she keep it? Especially remarkable is how he uses jump cuts to repeated actions and multiple takes of the same shot.

Experimental cinema is rarely this concise and engaging. Here Kuchar largely rebo the narratives or narrative fragments that typically structure his films, diving head-first into a picturesque but brackish pond of surrealism.

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Not even time can wash the residue of what they left behind. He engages in what appears to be a one-way conversation with his dog Bocko, his reminiscences intercut with photos and film footage from the times in question.