Holly Fisher has been active since the mid-sixties as an independent filmmaker, printmaker, teacher, and film editor. Her experimental short works and long-form essay films are explorations in time, memory and perception.
Bullets for Breakfast is one of the most magnificently obsessive films in recent memory. A precisely made flood of images, text, and My Darling Clementine cuts a swath across easy comprehension. Fisher constructs the film along the twin axes of visual sophistication and handmade aesthetics – it’s both beautifully meticulous and gorgeously frayed.
- Bullets for Breakfast (1992, 16mm, color, 77ʹ)
Images from My Darling Clementine form the basis for thought-provoking interpretation in Fisher’s Bullets for Breakfast. Combining stunning optical printing with a dense weaving of poetry, storytelling, and visual narrative, Fisher’s film explores the violent underside of another frontier—gender relations. Juxtaposing a pulp-western writer with a feminist poet, or women working at a herring smokehouse with those depicted in paintings by European Masters, Fisher reorders stories and images like musical motifs. A captivating hybrid of experimental and documentary technique, Bullets for Breakfast mines the depths of subjectivity, blurring the lines between myth and reality, fact and fiction.
- From the Ladies (1977, 16mm, color, 20')
- Glass Shadows (1976, 16mm, color, 13')
- This is montage (1978, 16mm, color, silent, 7')
- Softshoe (1987, 16mm, color, 20')
Contains a 28-page Booklet