Kitty_Lester
Not an imitation, rather an homage to Jan Svankmajer, the Borther's Quay can be a little unsettling to the uninitiated. They are well worth the price of admission and then some. Always a rich tapestry of the imagination gone wild, this collection of short films is effective both for the heart and the head. That these brothers have not gone on to blockbuster status is either a testiment to their great artistry or a testiment to La La land's great stupidity in not scooping up the brightest minds in the business. Here is somthing new.
Franz_Karpa
I saw "Street of Crocodiles" on my first Filmfestival in 1991. Its darkness and sadness, its brutality and decay, this strange feeling of being somewhere else and someone else who does not understand the rules of this world. The world of the genius brothers Quay confirmed my urge of being a filmmaker. It's a kafkaesque journey into your subconsciousness. It is unique. 10 of 10.
dj001k
The Brothers Quay are two of the most unique and visually surprising film makers in a long time. Street of Crocodiles is a short they made, and is full of unbelievable animation. An incredible mix of objects are used for the props and characters, creating strange effects and meanings. The visual style of Street of Crocodiles has been copied in many recent stop-go animation films, including many of the music videos for the band Tool. However, nothing can match the virtuosity of the Brothers, who support their impressive animation with political insight, dealing with the strife of their homeland in Europe. Truly amazing things are accomplished by the brothers in this film, such as using telephoto lenses to change focus in mid animation. The amount of detail and work that is put into this film is unbelievable, but the result is even more impressive.
galensaysyes
I've seen this three times, once in 35mm, once in 16mm (or through a dim projector bulb) and once on video. The first time it impressed me, short as it is, as one of the best horror films I'd ever seen, if not the best. The second and third time, to my disappointment, it didn't work very well because I couldn't see it properly. Some of the detail is gossamer-fine and must be seen in a clear print on a theatrical screen (or perhaps a large-screen TV) to be seen at all. The film is elusive enough anyway. Like many of the Quays' films it takes the viewer inside a world of cracked dolls and pieces of antique machinery, where the dolls are victims of totalitarian control. Of the Quays' short films I've seen, this is the most disturbing. It's best seen, I think, apart from the others, as I first saw it. The other major ones are of a piece with it and become somewhat redundant taken in a group. The slighter ones are also somewhat tedious. The general meaning of this is clear enough, but the exact topical application, if there is one, and if it isn't explained by the quotation given, which I didn't recognize, is obscure to me. I also wonder how serious the filmmakers are when they use, and use up, their style and technique on music videos. I prefer to think of this film as I came to it originally, as one of a kind. It's an unnerving experience.
AD
