Pip Chodorov

Unable to sleep, Jonas Mekas drifts through New York nights, moving between apartments, studios, galleries, bars, and clubs. Along the way he encounters friends and fellow artists—including Ken and Flo Jacobs and Yoko Ono—capturing an intimate mosaic of nocturnal encounters, reflections, and moments of community.

Experimental filmmaker Pip Chodorov traces the course of experimental film in America, taking the very personal point of view of someone who grew up as part of the experimental film community.

In this documentary, under the gaze of Pip Chodorov, Patrick Bokanowski evokes the genesis of his films and shows, by explaining them, a certain number of his inspirations (his meeting with the painter Henri Dimier , his first photographic tests...), his tools (lenses, title bench, masks, costumes...), his attempts, such as this idea of ​​filming the moving reflection of a mercury surface.

Super 8 flicker film shot and hand-developed in Seoul in spring 2022 with jazz soundtrack from a Jonas Mekas centennial tribute in Busan.

Three weeks of travel in the USA in June 1997: New York, Vermont, New York, Los Angeles, San Francisco, New York, edited entirely in camera and projected with music from the 60s.

No description available.

Charlemagne Palestine, New York musician in Brussels, and Pip Chodorov, film-maker from New York in Paris, evoke their home town through images filmed in 16 mm, sounds taken over the years, songs, electronic music, as well as a new composition of Charlemagne Palestine: The Pastrami Recordings.

In "Faux Mouvements", forward and backward motions occur together, movement in different directions are combined. We perceive motion in images that are in fact still. We can also see references to the spiral of the film reel, and the negative and positive of the film process.

"This film is close to End Memory. Under the shock of a recent break-up I built a film with similar elements: a day of nostalgia in the countryside, the picking of blackberries, the meal, having fun with friends, at the edge of the pond, the sunset, the memory of a moment when everything was fine. It's also my only film since End Memory with my own music." (PC)

A portrait of Brakhage shot in Victoria, British Columbia, just a few months before his death. Filmmaker Pip Chodorov illustrates Brakhage's reflections on his art with short passages from his hand-painted films.

- "The Spells of Kenneth Anger" was shot in Hollywood in July, 2003. Anger gives an overview of his life and we see clips of his many films. He touches on his run-in with Charles Manson, being influenced by Alistair Crowley, working with Marianne Faithful, and he shows us his favorite place in LA: the Hollywood cemetary.

A complement to the previous film (Numéro 4, 1989) : the fictional hero has the power to stop the projector, returning the cinema to its photographic origins, killing its motion. Having the unfortunate idea of taking his self-portrait, he finds himself caught in a photograph, condemned to live in the fleeting reality of the single frame.

In June 22sd 1998, Charlemagne Palestine was invited to perform at Bretigny sur Orge for the Captain Pip’s evenings. He asked me to attend as Captain Pip in order to participate in his performance.

Pip Chodorov's "Charlemagne 2: Piltzer" is a tour de force of hand-processed film which documents a Palestine piano concert. Chodorov uses flicker, negative/positive imagery, different printing techniques and colored filters to produce a film that is a true merging of sound and vision. - Frequent Small Meals

About ends and memory, the end of an era. I film to remember: the end of a summer, of a family, a last trip to Vermont before a separation, grandparents getting older.... I film impromptu, dissolving and fading in the camera. At night I hand-develop the film in a beaker. It sticks together and stains, leaving traces and holes that only add to the nostalgia. I leave the film as is, adding only some improvised music, which by its minor harmonies and discordances goes well with the faded, stained pictures.

A joyful and light-hearted look at alienation. What we see: ugly modern buildings, too many tourists, uniformity - everywhere the same cafés, the same supermarket bags, beggars and homeless, Senegalese merchants selling small Eiffel Towers, police and people fleeing from them, aggressive restaurateurs, markets, crowded subways, traffic jams and exhaust fumes, prostitutes, street fights, clowns. What we hear: Dinner Music for a Pack of Hungry Cannibals by Carl Stalling, a selection of sound recordings for Warner Brothers cartoons from 1941-50.

Jonas Mekas came to Paris in October 1997 for the video release of his film Walden. I filmed the event and its twists and turns at the Cinémathèque, the Fnac, the École des Beaux-Arts, and in a few bars and restaurants. The film ends with some Halloween footage. Music by Bruno Geoffroy and Andrew Rogers, Call Me the Breeze.

A short portrait of Anthology Film Archives, New York s museum of independent cinema founded by Jonas Mekas in 1970. Features interviews with some of the workers including Mekas and some of his Lithuanian friends.

The film documents an encounter at 202 Blvd Saint-Germain, in a cafe underneath Apollinaire's last place of residence. Jean-Jacques Lebel gives Jonas Mekas (who remains off screen), three objects associated with Apollinare: an autographed book, a Futurist manifesto, and one of Apollinaire's last drawings.

The single frame is the only visible unit in film, yet it is nearly invisible. To see a single frame goes against the nature of cinema; even if that is its very nature. If every frame holds the same image, there will be no movement; if they are completely different from each other, there will be no movement either, but chaos. By using a still camera like a film camera and a film camera like a still camera, Numero 4 rides on the edge between film and photography. One unedited super-8 camera roll.