The Flicker sweeps away reality, transports us into another environment and acts as a sort of instrument of perceptual experimentation. The filmmaker himself considers it as a kind of science fiction film which, instead of entering us into strange worlds – which have everything to do with this world and the development of conventional narrative structures –, proposes to transport us into a totally different dimension which is abstract and structured in a manner radically different from our environment.

Tony Conrad, The Flicker, 16mm, b & w, 1966, sound, 30 min
Marie Losier, Tony Conrad: DreaMinimalist, 16mm, color, 2008, sound, 26 min

"The Flicker sweeps away reality, transports us into another environment and acts as a sort of instrument of perceptual experimentation. The filmmaker himself considers it as a kind of science fiction film which, instead of entering us into strange worlds – which have everything to do with this world and the development of conventional narrative structures –, proposes to transport us into a totally different dimension which is abstract and structured in a manner radically different from our environment. (…) In The Flicker, Tony Conrad uses cinematographic devices to develop relationships between impossible harmonic frequencies using an ordinary stroboscope. At the root of this film are a musical, a visual and a psychological interest." - Victor Gresard

“Marie Losier has already made portraits of Richard Foreman, Mike and George Kuchar, Guy Maddin, and now also Genesis P-Orridge and Lady Jaye. In her very first film, she slipped completely into the role of Joan of Arc, becoming one with her. Today she develops a razor sharp overlapping of the language of those portrayed with her own, which consists of uncompromising empathy and joy in the research. Marie Losier has managed to make the history of the underground alive again for her audience. Drawing on Brion Gysin’s Dream Machine, DreaMinimalist portrays an artist that always stages the boundaries of the medium – and they appear most perceptibly in low budget dreams.” — Stefanie Schulte Strathaus

Contains a 24-page booklet by Victor Gresard.