David Brooks’ film style lies between what Jonas Mekas called «non-narrative structures» like films by Robert Frank and Alfred Leslie or Ron Rice – and the specific recording of a type of frenetic daily diary, with its inventive montage associations and subjective structures.
For Brooks, the camera was a tool for exploring the world’s different energies. In Carolyn and Me friends, places and journeys feature at a rhythm of rapid and faltering movements. The sudden bursts of colour do not impede us from being able to recognise any of the scenes, people or places that Brooks filmed. On the one hand, the filmmaker worked with great contrasts such as the change from day to night or artificial light. And on the other hand, the game, in its broadest sense, including the transitory sensation of seasons or musical rhymes, was articulated as a form of life.
Carolyn and Me: Part One, 1968, 33 min; Carolyn and Me: Part Two, 1968, 35 min; Carolyn and Me: Part Three, 1968, 36 min
Projection in 16 mm, silent.