Antoine Prum

Antoine Prum

N/A

Most Known for...

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Sunny's Time Now 2008 (4.5)

Retracing the longstanding career of avant-garde drummer Sunny Murray, one of the most influential figures of the Free jazz revolution. Through a series of interviews with key time witnesses as well as historic and contemporary concert footage, it reassesses the relationship between the libertarian music movement and the political events of the 1960s, whose social claims it so intimately reflected. By doing so, it also recounts how the most radical forms of musical expression were excluded from the major production and distribution networks as the libertarian ideal went out of fashion. Beyond its historical approach, the film follows Sunny Murray on current gigs, showing his daily struggle to perpetuate a musical genre which is still widely ignored by the general public. In doing so, Sunny's time now also dwells on the near-clandestine community of aficionados who continue to worship the gods of their musical coming of age, and whose unfaltering support has permitted free ...
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Taking the Dog for a Walk 2015

After Sunny's time now, his portrait of the American Free jazz drumming legend Sunny Murray, filmmaker Antoine Prum turns his attention to the British Free Improvised Music scene in this new music documentary. Following the leads of artistic advisor Tony Bevan, it retraces the road that leads from its emergence and emancipation from the various free music movements of the 1960s to the recent surge in popularity as talented new players are coming to the fore. In his search for the Britishness of British Free Improvised Music, Prum and Bevan are assisted by stand-up comedian and Derek Bailey expert Stewart Lee, who converses with musicians from different generations and backgrounds to uncover the specifics of a genre that refutes the very notion of genre.
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Mondo Veneziano: High Noon in the Sinking City 2005

Merging the traditions of art house and splatter, Mondo Veneziano: High Noon in the Sinking City pokes fun at the bloated importance of discursive theories in contemporary art. Cast in an abandoned Venice – a derelict film set in Luxembourg, as it turns out – this short fiction relates a meeting of a curator, a theorist, a painter and a “relational” artist who appear to engage in complex theoretical debates. Their verbal confrontation – a grotesque patchwork of quotes that mocks the art world’s infatuation with sampling and referencing – is punctuated by a string of dreamlike sequences in which the stereotypical characters are seen killing each other in the best tradition of mondo films.