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At the other end of the commercial spectrum was the US premiere of MALDOROR, a black-and-white feature
adaptation from self-funded British and German artists and groups, each representing a chapter of
the 19th Century experimental French novel by the Comte de Lautreamont (actually a woman). Three
chapters failed to materialize, and the 12-part result was disarmingly introduced by Duncan Reekie
of London’s Exploding Cinema collective: "Some of them are very good and some suck." Ranging from a
splendid, dark claymation by Filmgruppe Abgedreht to Paul Tarrago’s dreamy, deadpan WHY THE CANARY
SINGS NO MORE (with other standout sections from Reekie and from Colette Rouhier), MALDOROR is a
worthy, fascinating project.
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