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KENNETH ANGER was an audacious filmmaker, a self-proclaimed magus, a never-closeted queer, a shameless scandalmonger, a sometime Satanist, a difficult person, and, as P. Adams Sitney put it, the “conscious artificer of his own myth.” He was also the King of Pop—at least that’s what I thought on first seeing Scorpio Rising (1963) in the mid-1960s, age sixteen, at New York’s Museum of Modern Art.There were other movies on that program; I remember being impressed by Gregory Markopoulos’s Ming Green and Ed Emshwiller’s Relativity. But Scorpio Rising blew everything else away: the en...
An eighty-hour film? It may sound utterly mad, and yet such is—in the words of P. Adams Sitney—“the most uncompromising and perhaps most demanding film ever made,” Gregory J. Markopoulos’s Eniaios, 1947–91. “Idyll Worship,” Sitney’s essay on this masterwork of avant-garde cinema, was published in Artforum in November 2004. In the summer of that year, the film scholar had attended a screening of Eniaios’s first installments that was held outdoors over three evenings in the hills outside Lyssaraia, a small village in Greece. Markopoulos died in 1992, leaving the film cut but ...