BULLETS FOR BREAKFAST

“BULLETS FOR BREAKFAST (1992) is one of the most obsessive films in recent memory. A precisely made flood of images, text, and MY DARLING CLEMENTINE cuts a swath across easy comprehension. Fisher constructs the film along the twin axes of visual sophistication and handmade aesthetics – it’s both beautifully meticulous and gorgeously frayed.”

–Cameron Baily

 

The films of Holly Fisher seem to reveal some magical qualities about cinema too often relegated to the shadows: an optical toy that creates motion out of stillness, space out of flatness, time out of flicker, cinema is built on its paradoxical condition as an illusion. In addition to her sensibilities about memory and perception, Holly seems especially in tune with this nature of film as a medium. Resonances between her images and their realities stoke our awareness as we watch them. We become aware of our position as spectators of shadows on the screen, wake us up to our own realities, where most films attempt to drag us into the dream life of a fictional world.

 
MARIE POUR MÉMOIRE
 

BULLETS FOR BREAKFAST combines a sense of the familiar, the everyday, and of the mystery and evanescence of experience. It is both theoretically sophisticated and sensually engaging. It pays homage to pervasive visual and narrative myths of Western culture, even as it “skins” them in preparation for our cinematic consumption and digestion.”

-Scott MacDonald

Filmmaker Marie Losier

GLASS SHADOWS (1976) is a kinetic study of the female body. Fisher appeared in the film and used a window pane to reflect images of her body into the camera. Maureen Turim described Glass Shadows as ‘...a film that challenges feminist theory to expand its vocabulary and judgement to include not only a mode of critique, but also a more positive exploration of visual pleasure...’ Fisher, like Valie Export, is centrally preoccupied with reclaiming female representation and sexual pleasure from phallocentric discourse. In FROM THE LADIES (1977) continues in this vein. Shot in a multi-mirrored bathroom, Fisher again explores the tensions resulting from the dialectic between herself as object/actor and herself as subject/artist. In FROM THE LADIES Fisher demonstrates a ludic playfulness toward image and narrative technique.”

–Gwendolyn Audrey Foster

 

This disk publication contains a 28-page booklet complete with essays, photos and an interview with Holly Fisher.

 
 

Contents

Format: DVD PAL / Region 0
(No Regional Code)

BULLETS FOR BREAKFAST
(US, 1992)

Director: Holly Fisher

  • 77 minutes
  • 16mm
  • Color
  • Sound

FROM THE LADIES
(US, 1977)

Director: Holly Fisher

  • 20 minutes
  • 16mm
  • Color
  • Sound

GLASS SHADOWS
(US, 1976)

Director: Holly Fisher

  • 13 minutes
  • 16mm
  • Color
  • Sound

THIS IS MONTAGE
(US, 1978)

Director: Holly Fisher

  • 7 minutes
  • 16mm
  • Color
  • Silent


SOFTSHOE
(US, 1987)

Director: Holly Fisher

  • 20 minutes
  • 16mm
  • Color
  • Sound
 

Total Running Time: 02:17:00

Language: English

Booklet Text: Peter Brunette, Pip Chodorov (28 pages, in French and English)

Published By: Re:Voir Video

Institutional Price: $250 (plus shipping).

To order call: 212.280.8654 or click here for information on ordering by fax, e-mail or post.