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So, Antifilm #2 is one of those early short works that really showcases Mekas's experimental style, though he’s credited here as George Binkey. It’s a bit of a treasure hunt for anyone interested in the roots of avant-garde cinema. The pacing is deliberately fragmented, almost like a collage of fleeting moments rather than a traditional narrative. There's this rawness to the visuals, where the practical effects feel more like a reflection of the spontaneous energy of the post-war era. You can see where Mekas is going with his themes of memory and the ephemeral nature of life. It stands out as an intriguing piece for anyone delving into film history, especially within the context of the 1950s avant-garde movement.
Antifilm #2 is a relatively scarce find, particularly for collectors of early experimental cinema. Its format history includes limited screenings and only a few known physical releases, making it less accessible. The allure for collectors lies in its connection to Mekas's broader body of work and its reflection of a unique time in film history. As interest in avant-garde films continues to grow, this short holds a specific niche appeal.
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