Once Every Day: movie review
Time Out says
A legend of New York City’s avant-garde theater world, Richard Foreman has staged works intended to be a “disorientation massage.” This feature film—Foreman’s first in 35 years—certainly caresses viewers with a sense of dizzying confusion, as actors pose in various configurations and cacophonous noise fills the soundtrack. Fans of his performance pieces are more apt than most to find resonance in these scenes of people and places, though experimental-cinema fans weaned on formal deconstruction and celluloid chaos will likely find their minds less than blown. These vignettes were allegedly inspired by the artist’s infatuation with his shows’ background visuals; such free-for-all snippets might be better left on the periphery.
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