Jonas Mekas

A strange thing occurs. The world becomes transposed, intensified, electrified. We see it sharper than before. Not in dramatic, rearranged contexts and meanings, not in the service of something else [...] but as pure as it is in itself: eating as eating, sleeping as sleeping, haircut as haircut.

A strange thing occurs. The world becomes transposed, intensified, electrified. We see it sharper than before. Not in dramatic, rearranged contexts and meanings, not in the service of something else [...] but as pure as it is in itself: eating as eating, sleeping as sleeping, haircut as haircut.

We look at Breer’s work and we begin to smile – lightly, a happy sort of smile, a happy feeling like when you see anything beautiful and perfect. It’s through an amazing control and economy of his materials that he achieves this; through the elimination of all the usual emotional, personal, biographical, sick material; by not giving in to temptations.

I am happy that Robert Breer got some recognition. I saw his new film, 69, and it’s so absolutely beautiful, so perfect, so like nothing else. Forms, geometry, lines, movements, light, very basic, very pure, very surprising, very subtle. Breer’s films do not get much public acclaim. His shows are not among the heavily attended. His films attract no noise. But they are among the best films made today anywhere. A new film by Robert Breer is an important event.