Werner Herzog’s phoned-in tech film, Lo and Behold, is an ad in disguise.
From Walter Rutmann to Hou-Hsao Hsien, there's a rich vein of unlikely sponsored works by esteemed film and video artists. A survey could begin with abstract artists who used commercial patronage as a platform to dodge Nazi censorship, such as Oskar Fischinger, who licensed canonical works of experimental animation like Kreise to ad agencies, and Hans Richter, whose subversive mercantile histories for the Swiss stock exchange represent a leftist chronicle of capital ensconced in heady surrealist montage. In the 1950s, Eyes Without a Face filmmaker Georges Franju twisted a commission from the Army Museum into a grotesque anti-war critique in Hôtel des Invalides, succeeded by Alain Resnais and Oulipo poet Raymond Queneau's blissful and absurd paean to plastics, Le Chant du Styrène. Across the pond, Night of the Living Dead director George A. Romero created a bone chilling PSA about the mortality rate of impoverished African-American youth in Pittsburgh's Hill District, and Dara Birnbaum's iconoclastic "MTV: Artbreak" spot presented a dialectical feminist history of animation in thirty seconds. But Werner Herzog's Lo and Behold: Reveries of the Connected World marks the first time a feature film conceived and developed by a modern advertising agency and its client has landed in theaters, where critics and audiences alike are expected to accord it the dignity of a real movie.[ Read More ]