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Daybreak

Stan Brakhage
1957 United States 5 minutes no words

One in a pair of films which contrasts the two camera points of view: in Daybreak the objective camera records a woman as she sleeps, awakes, brushes her hair and applies her makeup, leaves her apartment, walks anxiously down the street, finally ending up at dusk on a bridge where she has a brief and unresolved exchange of glances with a man as they both look out towards the water. Whiteye uses the subjective camera entirely to assemble the visual pieces as a man attempts to write a letter to his love. Brakhage has called these films investigations of the « frustations of loving ».

Production :
indéterminé
Distribution :
Museum of Modern Art / Moma; Film-Makers' Cooperative

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