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Sunday In Southbury feels like an intimate snapshot of a moment in time, blending the personal and the cinematic in a way that's really quite compelling. Shot in 1968, the film captures the atmosphere of a picnic in a sort of raw, unedited style that makes you feel like you're part of the gathering. It’s not just about the events of the day, but rather the emotions and interactions that unfold among friends and family. The presence of Jonas Mekas adds an interesting layer, providing a secondary perspective that contrasts yet complements the primary narrative. The pacing is leisurely, allowing the viewer to soak in the details, which can be both charming and frustrating, depending on your taste. It’s a unique piece for collectors who appreciate the personal touches of avant-garde filmmakers.
Sunday In Southbury remains somewhat elusive in the collector’s market, with few copies surfacing, often in obscure formats. The film’s unedited nature contributes to its rarity, making it a curiosity for those interested in the avant-garde scene of the late 60s. Its connection to both Hans Richter and Jonas Mekas also piques interest among collectors looking for the intersections of personal narrative and experimental filmmaking.
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