Nathaniel Dorsky
Directing
Biography
Raised in New York on a steady diet of Westerns and Disney True-Life Adventures, Nathaniel Dorsky started shooting 8mm movies at the age of eleven. In 1963, when he had just turned 20, he made Ingreen, a boldly symbolic psychodrama about a young man’s sexual coming of age. At that film’s premiere, he met soon-to-be fellow filmmaker Jerome Hiler, who would become his partner in life and a major inspiration for his work. (“We were filming for one another,” Hiler recently said.) In 1971 the two moved to San Francisco, where they’ve lived ever since. Around the same time, Dorsky entered a decade-long creative silence. He returned in 1982 with Hours for Jerome, a 55-minute feature compiled from footage shot between 1966 and 1970. Like all of Dorsky’s subsequent work, it’s a kind of cinematic lyric poem, entirely silent and rooted in a centuries-old tradition of devotional art (in this case, medieval illuminated manuscripts and prayer books). The rest of the Eighties found Dorsky experimenting with new forms and materials: 1987’s Alaya was made up entirely of footage of shifting sand, and 1983’s Ariel, which had a rare public screening at this year’s New York Film Festival, is a beautiful hand-processed film full of thin, tremulous vertical lines and see-sawing horizontals. It was with 1996’s Triste—edited from over 20 years’ worth of footage—that Dorsky, as he once put it, fully arrived at “the level of cinema language that I have been working towards.” Since then, he’s made 16 luminous, description-defying short films, each with their own distinct tones and shadings. In films like Compline (09), August and After (12), and his two most recent titles, Spring and Song, Dorsky creates what he’s often called a “floating world,” in which street scenes, household interiors, meadows, rivers and forests are transformed into playgrounds for light, color and shadow. In a field often dominated by frenetic cutting and/or prolonged stasis, Dorsky’s films unfurl gradually but steadily in a kind of hushed suspension. They’re often attempts to do with light and texture what, in his book Devotional Cinema, Dorsky praised Mozart for having done in key changes and melodic lines: to “wed [a] style to the human metabolism in every detail".
Known For
Initially titled "Books for all". A moving institutional commission in which the filmmakers lovingly portray New Jersey's public library system.
Library
The frisky cheerleading team at the anarchic Aloha High sets out to foil the plans of their local school board president, after he attempts to shut the school down in order to develop the land into a shopping mall.
Revenge of the Cheerleaders
“Renga is a linked-verse form of Japanese poetry that, though still practiced today, reached its peak between the 13th and 16th centuries. It is characterized by being a group composition, typically in the presence of judges and an audience, with poets rapidly contributing stanzas such that each new stanza addresses only the previous stanza; there is no overarching plot development, and the overall structure is a chain, not a conventional, linear narrative… In 1989, I had the great privilege to be involved in a film renga that was produced in the graduate film seminar led by Nathaniel Dorsky at the San Francisco Art Institute.” —Eric Theise
Renga
This award-winning PBS documentary sweeps viewers into a seafaring adventure with a community of Polynesians, as they build traditional sailing canoes, learn how to follow the stars across the open ocean, and embark upon a 2,000-mile voyage in the wake of their ancestors.
Wayfinders: A Pacific Odyssey
The recording of the daily events of Dorsky and his partner, artist Jerome Hiler, around Lake Owassa in New Jersey and in Manhattan. The two parts of the films revolve around the four seasons with the first part revolving around spring through summer, while the second part revolves around fall through winter.
Hours for Jerome
Stoned people, music, movement, fields.
Letter to D.H. in Paris
Autumn, photographed during the last months of the drought year, 2015, is a stately, but intimate, seasonal tome, a celebration of the poignancy and mystery of our later years. – Nathaniel Dorsky
Autumn
This film is a portrait of the passage of one year in the lives of some San Francisco friends, circa 1988 (before the dot.coming of the city), a slow marijuana hazed story which drifts like the fabled fog, encompassing the quirks and habits of a generation that made the city theirs, if only for a while. Very obliquely Rembrandt Laughing sketches the time and place, encompassing the AIDS epidemic, the casual sexual revolution, the debris of '68 lingering in the air. A quiet, very San Francisco comedy of life among a small group of friends. Rembrandt Laughing was improvised over the period of about a month by Jost and his friends, mostly acting non-professionals.
Rembrandt Laughing
From the moment David Brower first laid eyes on the beauty of the Yosemite Valley, he wanted to the fight to preserve the American wilderness for future generations. The story of a true American legend, Monumental documents the life of this outdoorsman, filmmaker and environmental crusader, whose fiery dedication and activism not only saved the Grand Canyon (among other accomplishments) but also transformed the Sierra Club into a powerful national political force, giving birth to the modern environmental movement. Seen through Brower's own eyes - he was an accomplished filmmaker, and his stunning footage is included here-- a 1956 raft trip down Glen Canyon, before its damming, evokes the awful sadness of losing public land we've failed to protect. And in period footage of Brower's early rock-climbs (done in sneakers, with hemp ropes) and of his training in the 10th Mountain Division (who defeated the Nazis in the high Alps).
Monumental: David Brower's Fight for Wild America
Perhaps the most delicately tactile in the series of four cinematic songs, Love's Refrain rests moment to moment on its own surface. It is a coda in twilight, a soft-spoken conclusion to a set of cinematic songs.
Love's Refrain
Autumn lake in San Francisco.
Place d'or
The fourth of the “cinematic songs,” followed by two new works “made by someone closer to passing on, by someone whose sense of life and sense of cinema have become inseparable in a very real way.”
Intimations
NEW SHORES is a sister film to IN THE STONE HOUSE in many ways. Like the latter film, it consists of earlier footage edited in recent years. It could be seen as a sequel to IN THE STONE HOUSE especially since it begins with a cross-country journey to the West Coast, where I settled, and concludes with a visit, in 1987, to the “stone house” in rural New Jersey. Even though there is some sort of time line that can be imagined, the film stands on its own. It is simply a series of episodes that touch upon facets of living in a new area with new weather, new people, new identities and stubborn old fears. The Bolex camera goes to work across landscapes and living areas, workplaces and gatherings. A dance of images: can beauty partner with dread and death? It’s a film of the coexistences that percolate beneath the surface of ordinary events. A film of useless hopes and baseless fears.
New Shores
Dark and stately is the warm, graceful tenderness of the Sarabande.
Sarabande
The psychological and emotional motivations of gay sexual fetish, especially relating to gay male teens maturing into men and their sexual exploits.
Black Sheep Boy
Short film presented by the American Federation of Arts about the physics and characteristics of abstraction. Distorting physical items from science, nature, and intangible items in math and art can all be understood as abstraction. Abstract concepts in design, art, and language are shown.
Abstraction
Carriage Trade was an evolving work-in-progress, and this 61-minute version is the definitive form in which Sonbert realized it, preserved intact from the camera original. With Carriage Trade, Sonbert began to challenge the theories espoused by the great Soviet filmmakers of the 1920’s; he particularly disliked the “knee-jerk’ reaction produced by Eisenstein’s montage. In both lectures and writings about his own style of editing, Sonbert described Carriage Trade as “a jig-saw puzzle of postcards to produce varied displaced effects.” This approach, according to Sonbert, ultimately affords the viewer multi-faceted readings of the connections between individual shots. Preserved by the Academy Film Archive in partnership with Estate Project for Artists with AIDS in 1998.
Carriage Trade
"Compline is a night devotion or prayer, the last of the canonical hours, the final act in a cycle. This film is also the last film I will be able to shoot in Kodachrome, a film stock I have shot since I was 10 years old. It is a loving duet with and a fond farewell to this noble emulsion." - Nathaniel Dorsky
Compline
More than two dozen men and women of various backgrounds, ages, and races talk to the camera about being gay or lesbian. Their stories are arranged in loose chronology: early years, fitting in (which for some meant marriage), coming out, establishing adult identities, and reflecting on how things have changed and how things should be.
Word Is Out: Stories of Some of Our Lives
These four films spontaneously manifested as four stages of life: childhood, youth, maturity and old age. Elohim was photographed in early spring, the week of the Lunar New Year, the very spirit of Creation. Abaton was photographed a few weeks later in the full ripeness of spring, the very purity and passion of the Garden. Coda was photographed in late spring, in the aftermath of this purity, the first shades of mortality and Knowledge appearing. And finally, Ode, photographed in early summer, is a soft, textured song of the Fallen, the dissonant reds of death, seeds and rebirth. – Nathaniel Dorsky