Three Films by Alex Da Corte

The image shows two hands at the left of the image, rolling a liquid into green bubble wrap. It is a still from Alex Da Corte's film 'Chelsea Hotel', 2010.
Alex Da Corte, Chelsea Hotel No. 2, 2010, film still.

Why is fortune so capricious? Why is joy so quickly gone? Why did you leave me? Why have you gone?

Very, very delicious.
Today, too, I experience something that I hope to understand in a few days.

Alex Da Corte an Artist of Exception, fullstop. Intimacy x absurdity x love.

The following three films by Alex Da Corte are freely available online. A recommendation to everyone seeking a – brief – transcendence of the everyday.

The image shows a large plastic bottle filled with a red liquid. Above the bottle, a human hand is shown pouring drops of a blue liquid into the bottle, making the inside liquid change from blue to red. It is a still from Alex Da Corte's film 'Chelsea Hotel', 2010.
Alex Da Corte, Chelsea Hotel No. 2, 2010, film still.

Chelsea Hotel No. 2, 2010

“And clenching your fist
For the ones like Us
Who are oppressed by the figures of Beauty.
We are ugly
But we have the music.

The beauty of the nonsense of life
The memory of love.

The image shows a man looking outside the image. While his body is directed towards the left of the image, his head is turned towards the viewer, facing the latter. The man is wearing a white shirt and black bow-tie: in his left hand, he is holding a green cigarette. It is a film still from Alex Da Corte's film "Slow Graffiti", 2017.
Alex Da Corte, Slow Graffiti, 2017, film still.

Slow Graffiti, 2017

A handbook.
A self-portrait
A diary/story.

“Here is the man.
He’s weary. His weariness renders him quite useless.
The man at night, making a pathetic attempt at connection. To connect with anyone in an empty room.
Have you ever danced with the devil in the pale moonlight? Sometimes the devil will do.
“A man can boast of little happiness who does not enjoy the blessing of a friend.”
“The intimate sympathy of a fellow mind, a dance partner. “
He was so terrible that he was no longer terrible. Only dehumanized. The terrible man bound up by a burden of light and nothing I can do, only my voice saying a few words: bow-tie. Jacket. Boots. Trousers. Socks.
At last, he undressed. “Love me tender, love me true, there is nothing I can do.”
How is it to touch him … Does he take care of himself? Or why bother?
Behold the man’s filth and deprivaty.
A man eating alone…. What is he thinking? 
He is a monster. He’s just an actor. He is a God.

The pleasure in destruction and ugliness
The ruthlessness of reality
The desperation of doubt
The poetics of humility
The humor in pain.

The image shows what seems to be a table seen from above. Various fruits and vegetables are dispersed on the plane, as well as several wooden elements. On the right edge of the image, a figure is seated cutting parts of what seems to be a sandwhich. The image is a film still from Alex Da Corte's film 'Slow Graffiti', 2017.
Alex Da Corte, Slow Graffiti, 2017, film still.

Daggering, 2011

Patience.
Is it about aging?
I don’t actually care; I get lost in the flow of music and image.
Helpless, perseverant, radical.

It’s life: suddenly the dagger comes and takes your mask away.

The image shows a figure in semi profile, looking towards the left of the image. The figure is wearing a black shirt and its face is covered by a white mask. It is shown from the waist upwards and lit from behind, creating a dramatic twilight. The image is a film still from Alex Da Corte's film 'Daggering', 2011.
Alex Da Corte, Daggering, 2011, film still.

More information via: alexdacorte.com