As a central figure of the bustling European modern art movement of the early 20th century, German-born Hans Richter left an enduring legacy in the realms of graphic design, surrealism, and abstract expressionism. And yet – despite being among the first to apply these techniques to the discipline of filmmaking – to the casual cineaste, his name may not reverberate with the gravity of many of his contemporaries (think Maya Deren, Jean Cocteau, Luis Buñuel.) Nevertheless, after emigrating to the US in the early 1940’s, Richter directed a landmark of surrealist narrative cinema, DREAMS THAT MONEY CAN BUY – finally, a worthy American counterpart to tentpoles of the European avant-garde like UN CHIEN ANDELOU and BLOOD OF A POET. The hallucinatory narrative, concerning a man who sells dreams to meet the demands of a hastily signed lease, is the product of collaboration among a veritable honor-role of early-century creative minds: Marcel Duchamp, Max Ernst, Man Ray, John Cage to name a few…it was even produced by Peggy Guggenheim. As a testament to the film’s enduring impact, look no further than to David Lynch, who often cites DREAMS THAT MONEY CAN BUY as one of the most acute influences on his work. Hip hop figurehead Drake even name-checked the film in 2011, lifting the title for a track promoting his Take Care album.
Join us in the Third Man Records Blue Room on March 17th, as The Light And Sound Machine presents a mini-retrospective of Richter’s films on rarely-exhibited 16mm prints. In addition to DREAMS THAT MONEY CAN BUY, the night will begin with a suite of Richter’s early silent shorts, accompanied by a live score performed by Nashville’s preeminant psychedelic ensemble, The Paperhead.