Four Girls 1967
Alexander Keewatin Dewdney's *Four Girls (1967)* is a mesmerizing three-minute experimental short that blends minimalism with eerie precision.
Director: Alexander Keewatin Dewdney
Cast
Frequently Asked Questions
What is Four Girls (1967) about?
*Four Girls* follows four young women attempting to remain motionless in front of a camera, their stillness disrupted by fleeting glimpses of mannequins, skeletons, and dolls. The film contrasts the living with the lifeless, using stark imagery and an abstract soundscape to evoke unease. It's a meditation on time, perception, and the fragility of human presence.
Who directed Four Girls?
Alexander Keewatin Dewdney directed *Four Girls (1967)*. Known for his experimental work, Dewdney blends visual minimalism with bold sound design to create a uniquely unsettling viewing experience.
Who stars in Four Girls?
The main cast of *Four Girls* includes Alexander Keewatin Dewdney, who also appears on-screen alongside the four featured young women.
Is Four Girls (1967) worth watching?
While *Four Girls* is a niche experimental short, it offers a fascinating glimpse into 1960s avant-garde cinema. Its brief runtime and bold approach make it a standout for fans of abstract or atmospheric films. Whether it's 'worth it' depends on your taste for experimental work.
How long is Four Girls?
*Four Girls (1967)* has a runtime of 3 minutes.
About Four Girls (1967) — A 3-Minute Experimental Masterpiece of Stillness and Sound
Alexander Keewatin Dewdney's *Four Girls (1967)* is a mesmerizing three-minute experimental short that blends minimalism with eerie precision. The film captures four young women frozen in time, their stillness interrupted only by sudden flashes of inanimate objects—mannequins, skeletons, and dolls—each intruding like a breath held too long. Dewdney crafts an unsettling atmosphere where silence and abrupt noise collide, using household bleach and pens to etch soundscapes directly onto the soundtrack. The result is a haunting symphony of rushing roars that syncs with the live footage, leaving the black spaces hauntingly silent, as if the film itself is holding its breath.
In *Four Girls (1967)*, the director transforms a simple concept into a meditation on stillness, mortality, and the uncanny. The stark contrast between human presence and lifeless objects creates a dreamlike tension, while the avant-garde sound design immerses viewers in an auditory experience as unsettling as the visuals. It's a fleeting yet unforgettable experiment that lingers in the mind long after the screen fades to black.