Popular reviews

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  Review by DirkH ★★★★ 8

  Film #195 of Make me watch your favourite.
  Recommended by James Haves.

  Go here to watch it.

  Put on headphones.

  Turn up volume.

  Dim lights.

  Get bombarded by an aural and visual overload of bizarre, tense, frightening and visceral imagery. It is so intense it literally destroys the archive footage of 'the Entity' it uses.

  How to go insane in 10 minutes.

  Yep. Quite liked that.

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  Review by Robert Beksinski ★★★★ 3

  Spliced, edited, tortured, and perverted is Tscherkassky's Outer Space, used from archive footage of the horror film The Entity. Tscherkassky takes this footage from another film and creates something completely new and different, legitimately making it his own genuine work. He does this often in his films, using footage from another film and editing it into something else. A great example besides this one, is what he does to The Good, The Bad, and The Ugly in his experimental short Instructions for a Light and Sound Machine, transforming its genre completely from a western into a Greek tale of tragedy.

  Outer Space is one of the most effective avant garde pieces of cinema that I have ever seen. In one…

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  Review by Edgar Cochran ✝️ ★★★★★ 5

  Reverting, mutating and transfigurating the established order through a chaotic, kaleidoscopic fashion, Tscherkassky's recycling and usage of the material made by Furie and starring a traumatized Barbara Hershey utilizes the fury of Tsukamoto and old Soviet silent montage techniques to create an infectious nightmare of subliminal, parapsychological proportions in a mind realm that you're attracted to enter even if you're afraid to get close to it because you will be irremediably and instantly attached to it permanently in a non-stop increasing fascination of the delusional. The attraction the mind exerts over its fears is something fascinating.

  96/100

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  Review by Eli Hayes ★★★★★

  I feel like Daniel Lopatin (Oneohtrix Point Never) loves this short film.

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  Review by aleph beth null ★★★★ 1

  can confirm that memories of traumatic events acquire similarly fragmentary, distorted characteristics after extensive recollection

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  Review by comrade_yui ★★★★ 1

  the final broadcast from a dying universe

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  Review by Janica ★★★★★ 3

  My first Tscherkassky and truly, what a terrifying horror film. He takes footage from the Barbara Hershey film The Entity and brings it into combat with the film material itself. Hershey’s house— wherein she, in the film, is tormented by a demon that may or may not really exist— appears first only as a spec on a black screen, a scratch or damage on the print itself, until, like in a David Lynch film, a normal house emerges out of the darkness in all its banality, terrifying and stately.

  The film seems to take the place of the demon tormenting Hershey, as Tscherkassky uses glimmering superimpositions, obscuring damage on the print, and other forms of distortion on the level of the…

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  Review by nathaxnne [hiatus <3] ★★★★★ 2

  Any movie which makes 'The Entity' even more frightening is a-ok in my book! Almost 'The Entity' from the entity's perspective, Barbara Hershey half-eaten in spectral mothlight. Remaps late XXth Century horror tropes back onto the very earliest silent/expressionist modalities. Literally occurs in 'Outer Space', outside and beyond of filmic space into the actual material realm of film itself and beyond. Really really really amazing. I couldn't ask for anything more.

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  Review by Noah DiVincenzo ★★★★ 1

  My eyes sting. I’m terrified. And I love it

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  Review by Will Steele ★★

  It’s hard appreciate the artistic merit when you’re on the brink of an epileptic fit

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  Review by 🎄 Leighton Trent 🎄 ★★★★½ 2

  The idea of filmmaking as a mirror inverted. The idea of filmmaking as a window upended. The idea of horror given a new skin to live in.

  Archive film footage retooled. Disjointed framing. Hard cuts. Edits. Splices. Dices. Fragments. Scratches. Glitches. Layer upon layer upon layers inverting themselves and us the audience inserted inside them.

  Pulsating, vibrating, throbbing lights. The constant punishing, groaning and mechanical aural assault. A physical piece of celluloid as a means to explore time, space, perception, memory, the construct of narrative and even the subjectivity of how the film reel itself and its machinations can relay a story to us, the audience.

  Images melding together, pulling each other apart (the woman herself being pulled apart) until the horror within the film and the horror offscreen possessing the celluloid causes a complete collapse.

  
  Peter Tscherkassky, ladies and gentlemen.

  
  
  

  🎃All the Spooks 2022🎃

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  Review by Philippe Leão ★★★★★ 1

  O terror pelo que há no outro espaço, para além dos limites do quadro, que rompe a fronteira do próprio filme. O ritmo, portanto, é proposto nessa relação entre a diegese e a não-diegese, fazendo que por vezes nossa personagem seja dominada pela própria película. Ela luta, quebra um espelho, uma janela (objetos do olhar) e por fim a lente, voltando a ser olho.