If you could plan it, you’d wake up to a film like this. Though you wouldn’t actually wake up at all; you’d stay for a long time in the yellow saturated half-light of an evening which sends the sun slanting across fields so flat that they weigh the sky down.
Immediately you are drawn in by the mood of Andrew de Freitas’ films. It’s in the air so to speak; constructed through a musical score that compounds an orchestration of images sculpturally composed frame after frame.
Julia Lomas reports on the last iteration of Parlour’s ongoing project, Art in artist’s living spaces, presented at the home of video artists Rebecca Hobbs and Leilani Kake in Otahuhu, Auckland, November 23 2013
This month it's a noisy old pod as host Mark Amery gives Sound Full at City Gallery Wellington a decidely mixed response only to be rebutted by guests Martin Patrick and Sophie Jerram; we talk to Dr Max Schleser co-founder
I’m no expert on the genre of film noir. But I suspect it’s something most people have a basic awareness of, even if slightly misguided or clichéd, just like many people assume anything from the early-mid 20th century can be described as art deco.