Peter B. Hutton

Short experimental film showing various views of the Hudson river in winter.

Shot over a period of three years, At Sea opens on a hyper-modern South Korean shipyard, where supertankers loom over the workers who build them, then journeys through the swells and storms of the North Atlantic, and closes on a maritime grave in Bangladesh where ship breakers scrap the beached leviathans piece by piece under medieval conditions. Hutton's film showcases the environmental and human dramas that play out in the life cycle of this invisible engine of globalization. (conversationsattheedge.org/)

Documentary short of images from a fire in Boston.

New York is framed in the dark nights of a lonely winter. The pulse of street life finds no role in New York Portrait; the dense metropolitan population and imposing urban locale disappear before Hutton's concern for the primal force of a universal presence. [...] Hutton finds a harmonious, if at times melancholy, rapport with the natural elements that retain their grace in spite of the city's artificial environment. (Millenium Film Journal)

New York is framed in the dark nights of a lonely winter. The pulse of street life finds no role in New York Portrait; the dense metropolitan population and imposing urban locale disappear before Hutton's concern for the primal force of a universal presence. [...] Hutton finds a harmonious, if at times melancholy, rapport with the natural elements that retain their grace in spite of the city's artificial environment. (Millenium Film Journal)

New York is framed in the dark nights of a lonely winter. The pulse of street life finds no role in New York Portrait; the dense metropolitan population and imposing urban locale disappear before Hutton's concern for the primal force of a universal presence. [...] Hutton finds a harmonious, if at times melancholy, rapport with the natural elements that retain their grace in spite of the city's artificial environment. (Millenium Film Journal)

A film documenting the landscapes of northen Iceland, as well as a recent work about the Hudson River. Drawing on the traditions of 19th-century landscape painting and still photography, Hutton's contemplative, meticulously composed films unfold as a series of tableaux seperated by black leader. (Canyon Cinema)

The first section of the film is a reprint of a reel shot by Billy Bitzer in 1903 titled Down the Hudson for Biograph. It chronicles in single frame time lapse a section of the river between Newburgh, NY and Yonkers. The second section of the film was shot by filmmaker Peter Hutton (1998-99) and records fragments of several trips up and down the Hudson River between Bayonne, New Jersey and Albany, New York. (MUBI)

In Titan's Goblet refers to a landscape painting by Thomas Cole circa 1833. The film is intended as a homage to Cole, who is regarded as the father of the Hudson River School of painting. (Canyon Cinema)

An ode to a dreaming child, Hutton's daughter. Twenty-two shots, all but two separated by a momentary span of darkness, depicting Kaaterskill Clove in the Hudson Valley, the region that Thomas Cole painted and called his home. (moma.org)

Diary films have become a distinct genre of the independent film movement. Like a written diary, they forego the necessity of plot, character development and other attributes of a well-constructed story and concentrate simply but lovingly on the day-to-day or moment-to-moment events happening to the filmmakers. (Jonas Mekas)

Shot on 16mm, this wondrous silent film study from avant-garde master Peter Hutton (At Sea) observes human movement across three distinct landscapes: Detroit, along the Hudson River Valley and in the Dallol Depression in Ethiopia.

A portrait of Łódź, Poland that exists in a time-warp of sad memory.

A piece of Peter B. Hutton's landscape documentaries.

Portrait of life in Budapest from Peter B. Hutton.