Great Psychedelic Movies That Are Worth Your Time « Taste of Cinema. Psychedelia in film is characterized by distortion (both in image and in sound), experimentation in narrative and editing, and sometimes drug- inspired hallucinations.

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Like the psychoactive drugs which produce heightened sensory perceptions and distortion, psychedelic films present to their audience an unfamiliar and/or dream- like view of reality. The following films use cinematography, narration, editing, sound design, and music to create worlds of distortion. Whether the film is depicting drug- induced madness or creating an atomsphere of existential confusion, these films somehow experiment with the audience’s sensory perceptions in order to uproot the viewer from reality. These films welcome (or in some cases, force) the audience to interact with a plethora of psychedelic imagery, sounds, and/or narration. Un Chien Andalou (1. His film is a perfect example of surrealism, a style of art which utilizes symbolism and the irrationality of the unconcious mind.

Un Chien Andalou was Bu. The film opens with a barber slicing open a woman’s eye, as if to suggest to the viewer to symbolically throw off preconcieved notions and to see with new eyes. The 2. 0 minutes that follow are set to fragments of Wagner’s “Liebestod,” a dramatic piece of opera from Tristan und Isolde, that never quite comes to climax, making the film even more unnerving. We are presented with distorted religious symbology, such as ants crawling out from a stigmatic hand of the protagonist (a young unnamed man played by Pierre Batcheff), and dream- like scenarios- for instance, the young man dragging a piano topped with a dead donkey carcass and two priests in his pursuit of a young woman (Simone Mareuil). Such images, surrealistic in nature, create a distorted sense of reality, a quality found in many psychedelic films. The Red Shoes (1.

Michael Powell and Emeric Pressburger. Michael Powell and Emeric Pressburger’s classic film The Red Shoes incorporates Expressionistic sets and costumes, subjective point of view shots, and passionate performances to tell the story of a young woman, dancer Victoria Page (Moira Shearer), torn between her love for a young man and her love of dance. The dance sequence performed toward the end of the film captivates the viewer with its mesmerizing, painted landscapes and POV shots which sublty bring Victoria’s subconcious thoughts and fears to the forefront. Victoria “Vicky” Page is a young talented ballet dancer, eager to join a company. She meets the fierce Boris Lermontov (Anton Walbrook), director of a renown ballet company. After realizing her talent in a small production of Swan Lake, Lermontov casts Vicky in his ballet of The Red Shoes, based on the Hans Christian Andersen fairy tale of a young woman whose red shoes possess her to dance to death. Vicky then meets the young composer of the ballet, Julian Craster (Marius Goring) and the two fall in love, to the distress of Lermontov.

Vicky is soon caught between the two men, forced to choose between the love of her life and her passion for her art. Powell and Pressburger’s glorious Technicolor illuminates the passions of the film’s characters. The Oscar- winning sets provide an hallucinatory backdrop to the exceptional dance sequence, which brings Vicky’s fiery and tormented emotions to the limelight. The subtle POV shots during this sequence add to the psychological drama, and bring the viewer even further into Vicky’s mind. A precursor of psychedelic filmmaking, The Red Shoes fuses hallucinatory elements into a mainstream film, which makes it a classic that continues to inspire modern filmmakers, such as Martin Scorsese and Brian de Palma. Daisies (1. 96. 6) dir.

Without following any real plot, the film is led by two impish young women as they whip up fun for themselves (and cause trouble in the process). V. The two Maries laze around in bikinis and lingerie, create drunken mayhem at a nightclub, and destroy a fancy banquet, among other subversive acts. The film explores different film stocks, spontaneous eruptions into collage, and otherwise consistently plays with the medium of film itself, creating a highly self aware piece of art. Banned upon release, the film depicts a destructive playfulness that Czech authorities apparently found dangerous. There is a political undertone to the film with World War II film stock intercut amongst the characters’ antics. Daisies stirs up the audience with its Puckish protagonists and psychedelic imagry and editing. Point Blank (1. 96.

John Boorman. John Boorman’s neo- noir thriller, Point Blank is an hypnotic film of a man’s thirst for revenge. The pacing, color choices, and atmospheric music, led by Lee Marvin’s deadpan portrayal of Walker, yields a mesmerizing experience for the viewer. Shot and left for dead on Alcatraz Island, Walker returns to San Francisco to take revenge and claim his half of a crime he helped commit. With the help of the mysterious Yost (Keenan Wynn), Walker sets off on his journey for retribution.

Along the way, he finds that the man who wronged him, Reese (John Vernon) not only stole his money and left him on Alcatraz, but he stole his wife Lynn (Sharon Acker), who is now a depressive, emotionless wreck living in guilt for double crossing Walker. After Lynn overdoses on sleeping pills, Walker finds Lynn’s sister Chris (Angie Dickinson) who helps him get closer to Reese. The film’s pacing, which goes from a slow and moody atmosphere to periods of intense violence and action creates a lulling hypnosis which the viewer is then startled from. Download Ipod Home Sweet Hell (2015). Color plays a role in the atmospheric tone of the film- for example, Lynn’s silver grey apartment reflects her drab unfeeling character, riddled with guilt. Walker’s suits change color based on his location, giving him a mysterious chameleon- like quality. Free Time Out Of Mind (2015) Online. The story ends where it begins, on Alcatraz Island, leaving the film ambiguous as to whether the events that occur are a dream, reality, or if Walker is in fact a ghost. A Space Odyssey (1.

Stanley Kubrick. Stanley Kubrick’s science fiction masterpiece is an awe- inspiring, brilliant piece of art. The film’s stunning visuals combined with the grandeur of the classical music scores and Gy. Kubrick’s exploration of the history and future of humankind excites the viewer’s senses as it leads us to confront the great unknown of space and time.

The film opens with the dawn of man as we witness the first protohumans utilizing tools for the first time in history. Through a graphic match cut, the prehuman tool becomes a spacecraft and we are transported to the future as humans have evolved and are now masters of their tools. The space craft is on a mission to investigate a mysterious object recently uncovered on a lunar crater. A giant black monolith, also discovered on Earth by the protohumans earlier in the film, looms in this crater. We are to rediscover this black monolith again in the film. Next, we are on the Discovery One, a spaceship headed for Jupiter.

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David Bowman (Keir Dullea), Dr. Frank Poole (Gary Lockwood), and three other astronauts, in a state of cyrogenic slumber, are on a secret mission guided by the ship’s talking computer, HAL 9.

Douglas Rain). At this point, man loses control of his tools, as the computer’s intelligence superceeds that of the astronauts. Pitted against HAL, Bowman manages to take control of the ship and continues on the mission alone, traversing the wild unknown. The film’s Beyond the Infinite sequence with its streaks of light in space and Ligeti’s dissonant chorus produce an intensely psychedelic experience. Kubrick exquisitely captures man’s existential journey into uncharted territory. Easy Rider (1. 96.

Dennis Hopper. One of the America’s first counterculture films, Easy Rider captures the lifestyle of the hippie movement and how it interacts with the mainstream.