Filmmakers from K to L

List of RE:VOIR titles organised by filmmaker's last name K to L


  • Christophe Karabache

    Christophe Karabache is French-Lebanese  filmmaker, director of photography, actor and screenwriter. Originally from Lebanon, Karabache moved to France for his film studies at the University of Paris III-Sorbonne Nouvelle. During his studies he made documentaries and works of fiction. Most of his films contain marginal characters who are lost or are in the deep loneliness as well as passionate crises, conflicts, sometimes interlaced with the theme of civil war and trauma that comes with it. His work can be seen in several countries and in several festivals around the world. Karabache was part of Etna for several years. He received the Silver Palm Award at the Mexico International Film Festival in 2005 with his film, Lamia, his third feature film.

  • André Kertesz

    André Kertész (born in Budapest, Hungary on July 2nd 1894 and died in New York on September 28th 1985) was a Hungarian photographer, who received American naturalization, known for his numerous contributions to photographic compositions and photo journalisme. He played a key role in the Parisian artistic sphere between the two world wars. Today, Kertész is considered to be one of the most influential photographers of the 20th century.

  • Jeff Keen

    Jeff Keen (born on November 26th, 1923 in Trowbridge, United Kingdom, and died on June 21st, 2012 in the United Kingdom) was a filmmaker, artist and poet. Keen created a number of paintings, drawings, sculpture and Beat poetry. He is best known for his films, in which he brings collage, animation, found footage and live action together- harmoniously coming together in a single work. Keen was an innovator and used new techniques of superimposition and editing, as well as regularly etching and degrading the film surface. His films: Marvo Movie (1967), Rayday Film (1968-1975) and Mad Love (1972-1978) were all shot with Keen’s family at friends at home, on the streets of Brighton… Keen drew inspiration from Andy Warhol’s Factory and some of the early cinema pioneers in Brighton. Although his career as a filmmaker only started when he was in his late 30s, Keen completed more than 70 films and videos.

  • Maria Klonaris

    Nationality: egyptian & french & greek

    Maria Klonaris passed away on Monday, January 13, 2014. She and Katerina Thomadaki have been producing for more than forty years a fascinating cinematographic and plastic work, on the borders of experimental cinema, body performance, installation and technological art.

    Born in Egypt in 1950 to Greek parents, both doctors, Maria Klonaris grew up in the cosmopolitan Alexandria of the 1950s. After the Suez Crisis, the family moved to Athens. Maria Klonaris attended high school at the American College. At the Athens School of Fine Arts, she received training in scenography and stage design. She publishes several albums of drawings and signs theatre posters, book covers and illustrations. She began her artistic collaboration with Katerina Thomadaki when they created and directed the Théâtre des 4, the first as set designer, the second as director (Les Bonnes, 1968; Salomé, 1969).

    From the moment they moved to Paris in 1975, Klonaris and Thomadaki formed an inseparable pair. Klonaris/Thomadaki conceived vast cycles that ran over several years and developed in several artistic disciplines: Body Tetralogy, Unheimlich Cycle (around the "disquieting strangeness" of the Feminine), Hermaphrodite Cycle, Electra's Dream, Portrait Series, Angel Cycle, Sublime Disasters. The Twins... With these recurring figures that are out of the ordinary, they question the frontier between the sexes. Well before the emergence of the queer movement, Klonaris/Thomadaki's work, nourished by critical thought (psychoanalysis, philosophy, sociology, feminist thought...), looks at gender and intersexuality.

    As a teenager, Maria Klonaris discovered the clinical photograph of a hermaphrodite in the archives of her father, a gynaecologist and obstetrician. It will be the generating figure of their largest cycle. This image of the "angel" has been part of a series of works since 1985: immersive installations, artists' books, photographs and videos. In the video Requiem pour le XXe siècle (1993), Klonaris/Thomadaki juxtaposed it with archival images from the Second World War, demonstrating that through this "marginal" figure, it is in fact about questioning the whole of humanity: "Wandering and motionless consciousness, in the face of the events that explode before his abolished gaze, the Angel becomes in turn observer, witness, victim and judge, a different body persecuted, burnt knowledge, irradiated body, scene of memory."

    By combining "expanded cinema" and in-situ work, Klonaris/Thomadaki develop installations and projection environments, often monumental, in museums or abandoned places. Examples include Mystère I: Hermaphrodite endormi/e (Paris, 1982), Le Rêve d'Electra (Villeneuve-Lès-Avignon, 1986), Night Show for Angel (London, 1992), XYXX: Mosaic Identity (Linz, 1994), Stranger than angel (Ljubljana, 2002).

    The political dimension of Klonaris/Thomadaki's work is always combined with a force of plastic revelation. The philosopher Marie-José Mondzain has underlined the paradoxical alliance of a high tradition of the sacred image, of which they are the heirs, and a very innovative practice of media arts.

    It would be sterile to try to untangle the part that each of the two artists play in creations that result from a common elaboration, in the secrecy of the studio. On the other hand, we can venture to recognize some of the traits of Maria Klonaris' luminous artistic personality: a magnetic gaze, sharp gestures.

    In 2000, the Cinémathèque Française devoted several programmes to them as part of the retrospective "Jeune, dure et pure! A history of avant-garde and experimental cinema in France". Subsequently, the CNC's French Film Archives and the National Library of France worked with the artists to build up their archives, fixed on fragile supports, into an enduring heritage. Restored under their direction, the films Selva (1981-83), Chutes. Désert. Syn (1983-85), Unheimlich 1: Dialogue Secret (1977-79) were admired by audiences in several countries, hypnotized by these secret ceremonies in which repressed powers are awakened. This two-headed work continues its journey.

    – Alain Carou (curator) (BnF, Audiovisual Department)

  • Robert Kramer

    American director and screenwriter, born in New York on June 22, 1939, died in Rouen (Seine-Maritime) on November 10, 1999. The impression that emerges from his rich filmography (nearly thirty titles) is that of a coherence of artistic and ideological intentions that is difficult to find in other filmmakers.  Although it spreads across different mediums (film, video, digital technology), durations (from short to feature), approaches (documentary, fiction) and for different types of productions (cinema, television), one could say that the universe of images that Kramer has filmed over the years represents the successive stages of a single, very long film, intimate and personal, but also attentive to analyzing the breadth of community life, enclosed in the representation of an idea and at the same time open and attentive towards world events.

    For Kramer, the camera was his instrument in a search that took him many times to destinations where wars were being waged, to reflect on the causes and consequences of each conflict.  In these films, where the director is both actor and spectator, documentary and fiction mingle, and his cinema shows the conscious force of its language.

    - Grazia Paganelli

  • Kurt Kren

    Kurt Kren (September 20, 1929 - died in Vienna on June 23, 1998) was an Austrian avant-garde filmmaker. He is best known for his involvement with the Vienna Aktionists and the group of films that resulted, although this accounts for only a part of his career, and he later returned to the Structural roots of his third film 3/60: Bäume Im Herbst. Although not a seminal Structural film, 31/75: Asyl is arguably one of the more satisfying films of the movement.

  • Peter Kubelka

    Peter Kubelka (born March 23rd, 1934 in Vienna, Austria) is an experimental filmmaker, architect, musician, curator and lecturer. For the most part, his films are shorts experiments linking contrasting sound and images. His most well-known work is his avant-garde piece from 1966, ‘Unsere Afrikareise’ (Our Trip to Africa).

    Kubelka made mostly 16mm short films, also known as ‘flicker films’. The term came from having the black and clear film alternate, thus creating a ‘flicker’ effect. In the 1970s, he designed the Anthology Film Archive film screening space, located in New York. In this fully painted black space, each seat was covered with black velvet and there was a barrier between the seats in order for the audience members to be completely isolated from one another. The only source of light came from the spotlight aimed at the screen. This design encapsulated the purist, untarnished aesthetic of the Avant-Garde film movement.

    Kubelka received the Austrian Decoration for Science and Art in 2005.

  • Kuchar Brothers

    George Kuchar (born on August 31st, 1942 in New York, and died on September 6th, 2011 in San Francisco) was an American underground film director and artist. He is best known for his ‘low-fi’ aesthetic.

    George Kuchar was trained at the School of Industrial Art as a commercial artist and graduated in 1960. While he was drawing weather maps for a local news show, his brother Mike Kuchar was making 8mm films, which were being screened alongside works by Andy Warhol, Kenneth Anger, and Stan Brakhage. Ken Jacobs brought their work to John Mekas who then introduced their work to the Village Voice and elsewhere.

    Despite being fired from a commercial art job in New York City, George Kuchar was offered to teach in the San Francisco Art Institute's film department, where he taught from 1971 until 2011.

    While in San Francisco, his neighbors Art Spiegelman and Bill Griffith sparked his interest in underground comics. Both men were featured in his films and George was featured in their publications.

    Mike Kuchar (born on August 31st, 1942 in New York City, New York) is a filmmaker and actor. He is best known for his low-budget and camp films: Sins of the Fleshapoids (1965) and The Craven Sluck (1967).

    Mike Kuchar was raised in the Bronx and was inspired by his surroundings, which is why he made his first film with his twin brother George in the 1950s. Mike split his time between New York City and San Francisco, where his brother lived. In 2007, Mike Kuchar moved to San Francisco permanently.

    More recently, Mike Kuchar has worked on personal and expressionistic films. In 2009, he revealed two short films: Swan Song and Dumped, at the Vienna International Film Festival. Today, Mark Kuchar is a professor in the film program at the San Francisco Art Institute.

    The Kuchar brothers not only collaborated in film, they also wrote a book entitled Reflections from a Cinematic Cesspool (1997) in which they discuss their four decades of filmmaking. (introduction by director John Waters)

  • Lev Kuls̆ov

    Lev Kuleshov (born on January 13th 1899 in Tambov, Russian Empire- now Russia, and died on March 29th 1970 in Moscow, Soviet Union- now Russia) was a film director, screenwriter and theoretician. Kuleshov established as well as taught at the world’s first film school, the Moscow Film School. It can be said that he is one of the first film theorists and was a pioneer of  the Soviet montage theory, which he developed before Sergei Eisenstein and Vsevolod Pudovkin’s theories of editing. For Kuleshov, editing and the juxtaposition of one shot with another were at the heart of cinema. In fact, the film editing effect known as the Kuleshov Effect was coined by Kuleshov himself. This editing exercise refers to the intercutting of shots of an actor with various meaningful images in order to highlight how editing can change one’s understanding and interpretation of images. Kuleshov not only worked on film theories, he was also an active filmmaker of feature-length films until 1943. From then on, Kuleshov served as the academic rector to the Gerasimov Institute of Cinematography.

  • Jean-Jacques Lebel

    Jean-Jacques Lebel (born in 1936 in Paris) is a French artist, poet, poetry publisher, political activist and scholar. He is the son of the art critic Robert Lebel, a friend of Marcel Duchamp’s. Lebel is best known for his work with Happenings, also known as performance art, as well as for his work as an art theory writer and art curator.

  • Christian Lebrat

    Christian Lebrat (born in 1952) is a filmmaker, video artist, photographer and French editor. Since 1976, Lebrat created twenty films, videos and performances to film. These works are in the collections of the Centre Georges Pompidou and the FNAC (National Fund of Contemporary Art).

    Lebrat was inspired by abstract expressionist painting, especially paintings by Mark Rothko, and secondly, by the radicalism of films by Peter Kubelka which he published the first monograph. Lebrat’s films can be characterized by the decomposition of the image particles (strips of light) with the goal to blow up the frame of the image and form novel color intensities. Lebrat did not intend total abstraction but rather the culmination of a narrative and conceptual film. Lately, he incorporated the paint directly on film in his work and has developed a video work in the form of a projection or installation.

  • Fernand Léger

    Fernand Léger (born February 4th, 1881, at Argentan and died on August 17th 1955 at Gif-sur-Yvette) was a painter, creator of cartoons on tapestry and stained glass, designer, decorator, ceramist, sculptor, draftsman, illustrator and filmmaker. His first works were creating a personal form of Cubism were then modified in a more figurative style and populist. Léger is one of the first artists to present his cubist type of work to the public, although his style was described as being rather "tubiste". His simplified treatment of the modern subject has given him the title as one of the initiators of pop art.

  • Mike Leggett

    Mike Leggett (born in 1945 in the United Kingdom) has been working in various artistic mediums, such as: video, film, photography, interactive pieces, performance, as well as being a curator. Since the early 1970s, he has worked across institutions of art, education, cinema and media arts. He graduated with a First Class Honors and has a Master of Fine Arts from the College of Fine Arts, University of New Wales; and received a PhD from the Faculty of Engineering and Information Technology, University of Technology Sydney. After getting an Australian Postgraduate Award, he began his investigative work on the precept of visual mnemonics in the development of tools and models for innovative ways of collaborating with digital motions pictures.

    Leggett’s film and video artwork can be found in archives across the world, from Europe, to Australia, to both North and South America. Despite being a professional artist, curator and writer, his skills branch out to director/producer, editor, photographer, lecturer, manager and computer consultant.

    He has had the opportunity to take part in various collaborations: Burning the Interface, an exhibition curation with Linda Michaels for the Museum of Contemporary Art, Sydney; PathScape (2000) an interactive multimedia prototype for the Australian Film Commission in which he worked with programming, sound and image artists; Unword (1969-2003) a performance collaboration with artist Ian Breakwell.

    In more recent times, he has written articles, journals and books such as: Generative Systems and the Cinematic Spaces of Film and Installation Art in Leonardo V40 N2 (2007). His writings and lectures focus on media art, enabling him to contribute his pieces to journals (Leonard; Continuum), magazines (Word Art), online ‘zines’ (FineArt Forum), RealTime, and Leonard Digital reviews as a book reviewer.

    Leggett has done consultations for councils and associations located in Australia including: the Australia Council, the National Association for the Visual Arts and the Australian Centre for the Moving Image, Melbourne. He was one of the founders of the London Filmmakers Cooperative workshop and the Bristol Film and Video Workshop; was Chair of the South West Arts Film and Video Panel (UK), and served on the Board of dLux Media Arts (Sydney) for two years.

  • Len Lye

    Len Lye (born on July 5th, 1901 and died on May 15th, 1980) was an artist, writer, sculptor and animation filmmaker from New-Zealand, primarily known for his experimental and kinetic sculpture. His films are available in the archives of the New Zealand Film Archive, the British Film Institute, the Museum of Modern Art in New York City, and the Pacific Film Archive at the University of California, Berkeley. Lye’s sculptures are on display at the Whitney Museum of American Art, the Art Institute of Chicago, the Albright-Knox Art Gallery and the Berkeley Art Museum. Despite becoming an American citizen in 1950, a majority of his work was sent back to his homeland of New Zealand, specifically at the Govett-Brewster Art Gallery in New Plymouth.

  • Boris Lehman

    Boris Lehman,  born March 3rd 1944 in Lausanne (Switzerland), is a Belgian filmmaker who's work is oriented towards experimental cinema, cinematographic essay, filmed news and documentary.

  • Maurice Lemaitre

    Maurice Lemaître (1926-2018) was an artist, writer and French poet. He is known to be one of the main figures of lettrisme, a movement started in the 1950s.

    Lemaître was educated at the School of Arts and Crafts and Public Works. After taking part in the Liberation of Paris, he began his philosophy degree at the Sorbonne.

    In 1948, he began his career as a journalist and wrote for the newspaper of the libertarian movement. A year later, he met Isidore Isou and immediately became interested in his political and avant-garde thoughts.

    In 1950, Lemaître became very invested in the Lettrist group and created in the same year the "Youth Front," a political journal; while simultaneously creating a literary and pictorial magazine, entitled "Ur," which remains "The Minotaur" of lettrism. In 1951, after assisting Isidore Isou on his film "On Venom and Eternity," Lemaitre embarked on his own long film in 35mm, "Has the Feature Started Yet?" followed by many more films. Lemaître continued to develop various fields within the Lettrist movement: poetry, theater, dance, novels, painting, photography, film, economy, psychopathology and psychotherapy. Despite his dedication to the movement, after the year 2000, Lemaître distanced himself from the movement and remained relatively isolated from the group.

  • Loop Collective

    The Loop Collective is a group of independent media artists formed in 1996 to develop a public platform integrating experimental film and video with other art forms. They program and produce works for presentation through exhibitions and events in both traditional and non-traditional spaces. Their mission is to explore the roots of experimental film and video by creating a dialogue with other art media. They strive to promote experimental film and video for critical engagement by cultivating relations among different artistic communities. The Loop Collective has presented gallery installations, screenings, and artist talks by renowned figures including Michael Snow, Chris Welsby, Christian Lebrat, Carolee Schneemann, and Jósef Robakowski. Programmes of films by Loop members have screened at venues including The National Film Board of Canada (Toronto), Cinema Parallele (Montreal), Winnipeg Cinematheque, NASCAD (Halifax), Club SAW (Ottawa), The Factory (Hamilton), Leeds International Film Festival (United Kingdom), and the 2010 Canadian Retrospective at EXiS Festival, (Diagonal Film Archive, Seoul).

  • Marie Losier

    Marie Losier (born in 1972 in France) is a filmmaker and curator currently working in New York City. Losier’s films and videos have been exhibited at museums, galleries, biennials and festivals. She studied literature at the University of Nanterre in France and then pursued her studies at Fine Art in New York City. She has done multiple film portraits on various avant-garde directors, musicians and composers such as Mike and George Kuchar, Guy Maddin, Richard Foreman, Tony Conrad and Genesis P-Orridge. Losier’s unconventional, lyrical and whimsical work explores the life and work of these artists. Her films are shown at films festivals and museums, such as The Tate Modern, the Whitney Biennial, PS1, MOMA, The Berlin Film Festival, The International Film Festival Rotterdam, Tribeca Film Festival, The Cinémathèqhe Française and the Centre George Pompidou in Paris.

    Losier started working on her first feature film 5 years ago, in which she captures the life of the musical virtuoso Genesis Breyer P-Orridge, and her band Psychic TV. Her unfinished work was presented at The Centre George Pompidou in 2009 to open ‘Hors Pistes’ as well as at the Cinémathèque Française in Paris.

    She currently lives and works in New York and is film curator at the Alliance Française since 2000, where she presents a weekly film series. While working at the Alliance Française, she has hosted many directors and artists, such as Raoul Coutard, William Klein, Claire Denis, Chantal Akerman, Jane Birkin, and Jeanne Moreau.

    She also programmed experimental films at the Robert Beck Memorial Cinema and Ocularis and today programs and bring experimental films series in Europe and all over in the States.

  • lowave

    A publishing house in the field of experimental cinema and video art since 2002, Lowave is now a platform for curatorial research principally around moving images.  Lowave's DVD catalogue unites video artists, experimental filmmakers, visual artists, photographers, musicians and performance artists. With monographies and documentaries on art or video portraits of artists, the catalogue also includes a significant amount of compilations that focuses on the discovery of emerging scenes and thematics.

  • Rose Lowder

    Rose Lowder (born in 1941 in Miraflores, Lima, Peru) is a French filmmaker. From 1947 to 1958, Lowder studied at the Colegio San Silvestre, Miraflores. She then  specialized in fine arts studies in artist’s studios and art schools in Lima, Peru (The Art Center (1951-1957), La Escuela de Bellas Artes (1957-1958) then in London (Regent Street Polytechnic, 1960-1962), Chelsea School of Art (1962-1964). While in London, she pursued artistic practice while working as an editor in the film industry (1964-1972).

    After 1977, Lowder worked on the visual aspect of the cinematographic process and had Jean Rouch, as well as his department from the Université Paris X, and presented a part of her research for a PhD entitled ‘Le film expérimental en tant qu’instrument de recherche visuelle/Experimental film, a tool for visual research’ (1987).

    In action since 1977, she has been programming rarely shown films as the co-founder of the Archives du film expérimental d’Avignon (AFEA, 1981), aiming to acquire 16mm films and paper documents, as well as publishing several books; Lowder was thus able to make these works more accessible to the public: ‘La part du visuel, films expérimentaux canadiens/ The Visual Aspect, Canadian expérimental films’ (AFEA, 1991), ‘L’Image en mouvement’ (AFEA, 2002), ‘Images/discours’ (AFEA, 2006).

    From 1996 to 2005, Lowder was an associate professor at the Université de Paris I and taught practice, history, theory and aesthetics.

    By focusing her research on visual perception in relation to the cinematographic means of expression, Lowder concentrated on the various ways in which one can alter the graphic and photographic visual features of the images as it metamorphoses in time. As a result of this work, she was able to compose the image in the camera by interweaving the frames as the film strip passes the lens several times. This method of working is meticulous and complex because it consists of recording a series of images, frame by frame, in the camera, in order for them to appear simultaneously when projected on the screen.

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