Les Jeux des Anges  

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"This haunting and oppressive animation -- a masterpiece of [[modern art]] -- represents a daring attempt to portray not the reality of [[the camps]], but their atmosphere, the "weight" of infinite fear and unknown [[horror]], the presence of continuous and unforeseeable death. Ironically described as a "reportage in the city of the angels", the surrealist-expressionist images (reminiscent of both [[Giorgio de Chirico|Di Chirico]] and [[Max Beckmann|Beckmann]]) take the unwilling spectator on a journey through a nightmarish world of metaphysical terror. There are oppressive cells with ominous wall openings and pipes, indistinct torture instruments, misshapen torsos locked in brutal, endless struggle, executions, rivers of blood running in false colors. A unique and original work that aims at changing the viewer's consciousness by transporting him into an obsessively imaged recreation of what it must have been like." --''[[Film As a Subversive Art]]'' (1974) by Amos Vogel on ''[[Les Jeux des Anges]]'' (1964) "This haunting and oppressive animation -- a masterpiece of [[modern art]] -- represents a daring attempt to portray not the reality of [[the camps]], but their atmosphere, the "weight" of infinite fear and unknown [[horror]], the presence of continuous and unforeseeable death. Ironically described as a "reportage in the city of the angels", the surrealist-expressionist images (reminiscent of both [[Giorgio de Chirico|Di Chirico]] and [[Max Beckmann|Beckmann]]) take the unwilling spectator on a journey through a nightmarish world of metaphysical terror. There are oppressive cells with ominous wall openings and pipes, indistinct torture instruments, misshapen torsos locked in brutal, endless struggle, executions, rivers of blood running in false colors. A unique and original work that aims at changing the viewer's consciousness by transporting him into an obsessively imaged recreation of what it must have been like." --''[[Film As a Subversive Art]]'' (1974) by Amos Vogel on ''[[Les Jeux des Anges]]'' (1964)
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 +"The music in this film is based on an original [[chant]] from the [[Polish concentration camps]]." --epigraph
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*[[Dominique Duvergé-Ségrétin]] *[[Dominique Duvergé-Ségrétin]]
-Arguably Borowczyk’s masterpiece, Angels’ Games is, according to the artist, a reportage in the city of angels. Based on a series of abstract, metaphysical gouaches that evoke Giorgio de Chirico and René Magritte but which could only have come from Borowczyk’s paintbrush, Angels’ Games evokes the horror of what [[Czesław Miłosz]] described as the concentration universe of both death camps and the Gulag. These unforgettable images combined with an astonishing soundtrack by Bernard Parmegiani, results in Angels’ Games being one of the most affecting films in the history of cinema. 
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"This haunting and oppressive animation -- a masterpiece of modern art -- represents a daring attempt to portray not the reality of the camps, but their atmosphere, the "weight" of infinite fear and unknown horror, the presence of continuous and unforeseeable death. Ironically described as a "reportage in the city of the angels", the surrealist-expressionist images (reminiscent of both Di Chirico and Beckmann) take the unwilling spectator on a journey through a nightmarish world of metaphysical terror. There are oppressive cells with ominous wall openings and pipes, indistinct torture instruments, misshapen torsos locked in brutal, endless struggle, executions, rivers of blood running in false colors. A unique and original work that aims at changing the viewer's consciousness by transporting him into an obsessively imaged recreation of what it must have been like." --Film As a Subversive Art (1974) by Amos Vogel on Les Jeux des Anges (1964)


"The music in this film is based on an original chant from the Polish concentration camps." --epigraph

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Kunstformen der Natur (1904) by Ernst Haeckel
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Kunstformen der Natur (1904) by Ernst Haeckel

Les Jeux des Anges (1964, English: Angels' Games) is a short animation film by Walerian Borowczyk with music by Bernard Parmegiani.

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