Sixty Six

Organized in 12 discrete chapters, Sixty Six is a milestone achievement, the culmination of Klahr’s decades-long work in collage filmmaking. With its complex superimpositions of imagery and music, and its range of tones and textures at once alluringly erotic and forebodingly sinister, the film is a hypnotic dream of 1960 and 1970s Pop. Elliptical tales of sunshine noir and classic Greek mythology are inhabited by comic book super heroes and characters from Portuguese foto romans who wander through midcentury modernist Los Angeles architectural photographs and landscapes from period magazines.

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  • ★★★★ review by Peter Labuza on Letterboxd

    "Klahr’s film opens with a quote from Breton and Eluard: 'Let the dreams you have forgotten equal the value of what you do not know, and Sixty Six certainly operates on a dream logic, if only for its rather crude juxtapositions of nonsensical images. The blank spaces are easily filled in with our imaginations; the literally thin characterizations given depth through juxtapositions, and the world becomes three dimensional through its aural suggestion."

    An early contender for my favorite film of 2016, or at least a wonderful introduction to an artist whose work I hadn't followed before. More discussed on the podcast.

  • ★★★★½ review by Sean Gilman on Letterboxd

    I was really comfortable with giving 88:88 the Sound Design Endy for 2015, but I'm going to have to revise it now. Because this is one of the best movies I've ever heard.

    Looks pretty cool too.

  • ★★★½ review by Alice Stoehr on Letterboxd

    These pop culture artifacts have been stripped down into objects, icons, letters, and colors. The colors, letters, icons, and objects have been pasted back together into a dream. A dream that's intimate and collective, that grows into a collection of stop-motion suites. Curated with an aesthete's eye, the animated collages are a pleasure to behold, and a pleasure to hear: rain patters alongside music from Some Came Running or dialogue from an episode of Route 66. Especially striking are Lewis Klahr's focus pulls between layers of paper or plastic imagery. As in live-action, they redirect the viewer's attention, but here they feel more active. They restructure the film's surface, and its surface is its whole world. Shifts in focus get the weight that a hand gesture might have if human bodies were ever onscreen.

  • ★★★★½ review by Sam M. on Letterboxd

    swear to god if i ever have to see pictures move again, I will put down this dog

  • ★★★½ review by AlexandreFR on Letterboxd

    Je ne suis pas entièrement convaincu que la tactique de la rafale soit la meilleure manière de consommer tous ces courts métrages, mais sinon c'est du bonbon.

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