Inspired in part by a dream he had of murdering his mother, Brakhage here gives us one of his profoundest meditations on human aggression.

A hand-painted and photographically step-printed film, which exhibits variably shaped small areas of color (in a dark field) that explode into full frames of textured color interwoven with white scratch patterns that create a sense of interior depth and three-dimensional movement.

“Much of what has been said about this film could be repeated here, except that Rage Net arises from meditation upon, rather than being trapped psychologically by, rage." -S.B.

”My laboriously painted vision of the god of the forest." -S.B.

Sexual intimacy. Three kinds of images race past, superimposed on each other sometimes: two bodies, a man and a woman's, close up, nude - patches of skin, wisps of hair, glimpses of a face and genitalia; strips of celluloid with lines and squiggles scratched on them; and, close-up shots of what appear to be the insides of living bodies - a heart beating, muscle and sinew and tissue wet with fluids. The exterior and interior of desire.

A man is supine on a mountain side. Images rush past of nature and a stained glass saint. An infant is born. We see a lactating nipple. Images include a mountain peak, farm buildings, a tree stump, a fire, a crawling baby, and the sun. The man falls and rolls. Then, later, he swings his ax.

A nostalgic envisionment of city living - the potential shards of memory seen as if always on the verge of cutting the mind to pieces.

"The primary 'Molten Horror' is TV - though there are other horrors metaphored in the film. Four superimposed rolls of hand-painted and bi-packed television negative imagery are edited so as to approximate the hypnagogic process whereby the optic nerves resist grotesque infusions of luminescent light." -S.B.

Dark, fast-paced symmetry in mixed weave of tones moving from oranges & yellows to blue-greens, then retreating (dissolves of zooming away) to both rounded and soft-edged shapes shot with black. Preserved by the Academy Film Archive in 2013.

Multiple thrusts and then retractions of oranges, reds, blues, and the flickering, almost black, textural dissolves suggesting an amalgam approaching script. Preserved by the Academy Film Archive in 2013.

This hand-painted and elaborately step-printed work begins with a flourish of reds and yellows and purples in palpable fruit-like shapes interspersed by darkness, then becomes lit lightning-like by sharp multiply-colored twigs-of shape, all resolving into shapes of decay. Preserved by the Academy Film Archive in 2013.

This film is entirely hand-painted and is composed of such an evolution of variably colored shapes that their inter-action with each other should constitute a purely visual "self-evident" (as prompted by the title). Each frame is printed twice, so that its effective speed (at 24fps) is 12 frames per second. A variety of organic and crystalline painted shapes (painted on clear leader, thus as if brilliantly back-lit in a blazing space of light) are interspersed with very dark (black leader) passages as if etched with scratches of light and stained radiances. There are also some straight, multi-colored, bars which move, diagonally from one side of the film frame to the other. All these "themes" finally give way to clear thick gelatinous effects which resolve themselves in a long passage of hieroglyphic white shapes in a black field, ending on a brief spate of variable coloration.