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Intuitive approach to documentary
- Peter Mettler (born September 7, 1958) is a Swiss-Canadian film director and cinematographer. He is best known for his unique, intuitive approach to documentary, evinced by such films as Picture of Light (1994), Gambling, Gods and LSD (2002), and The End of Time (2012).
en.wikipedia.org/wiki/Peter_Mettler
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Peter Mettler (born September 7, 1958) is a Swiss-Canadian film director and cinematographer. [1] He is best known for his unique, intuitive approach to documentary, evinced by such films as Picture of Light (1994), Gambling, Gods and LSD (2002), and The End of Time (2012).
Oct 16, 2017 · Throughout his extensive career, Peter Mettler has created films deemed impossible to make, yet readily appreciated once they exist. Melding intuition with dramatic, documentary, and experimental forms, Mettler’s cinema is at the forefront of contemporary practice.
In the cosmology of Canadian cinema, Peter Mettler is our seeker. From his early experimental narrative feature, Scissere, to his inventive adaptation of Robert Lepage’s Tectonic Plates…
Dec 12, 2002 · Peter Mettler has a similar role, but his process is altogether unique. He captures reality (vaguely defined for our purposes as moments or history which can be filmed and preserved in some form or another), observes that reality, relates moments to each other, and then frees the contents via images in fleeting moments of transcendence.
His Canadian contemporaries marvel at his works and perceptions. Peter makes films because for him it represents the closest rapproche-ment to the spiritual world, to religion, to adoration and ritual in his modern world, to monastic devotion to an art form, a craft.”. Bruce McDonald, 1995.
Dec 12, 2002 · It gives you a unique vision, or certain perception, combined with music and dancing, although the visual stimulation is lucid and clear and you’re engaged in it through a more three dimensional cinematic experience.
Dec 26, 2013 · Creating a hallucinogenic-like experience, this type of unique “live cinema” may cause some to immediately reject the idea; however, after careful digestion and thought, one can readily appreciate the film for what it is — art. The gentle and mellow-toned director does not apologize for his distinct point of view, and he doesn’t need to.
