At one point Ornette comments on people’s inability to see themselves living in reality, likening it to seeing yourself through a TV version of yourself. Shirley Clarke presents a kaleidoscopic impression of Coleman’s life and music. In the process, she captures one of the most vivid visual representations of jazz by understanding the music, like film, is an effort to distill the logic of dreams by way of the rhythm of math.

1916

Compelling little procedural piece of work that's often stunning to look at, but certainly somewhat plainspoken and oddly understated when considered alongside many of its contemporaries. Quite good, but it probably could have been absolutely great with only a few minor adjustments.

Still, a pretty phenomenal thing to just absently stumble across on the blu ray release of Filibus of all things.

A short black-and-white film labelled a family drama by its director, though like any family drama, it's about the dischord initially: all the sound effects are heightened and much of the dialogue is replaced by the sounds of war (explosions, gunfire) as these people get on one another's nerves, bash into each other, make music. Eventually, a sort of peace is reached, as the younger sister heads out on a date, and her brother plays the piano. (Included on Milestone's Losing Ground release.)