



Born in 1940, Robert Kramer is, with Shirley Clarke, the most important of the American independent film-makers, and the only one whose films are exclusively political in content.
—Richard Roud, Cinema: A Critical Dictionary
Robert Kramer, an American filmmaker who began with an unprecedented chronicling of the political movements of the 1960s and 70s, moved to Paris in 1980 and continued his exploration into the personal lives and political implications of the activities of his generation. When he didn’t come home and join the Sundance crowd, an ostensibly “alternative” system of filmmaking, he doomed himself, as he himself said, to never be seen or appreciated in America. This has proved to be tragically true, and the consequences have been to eliminate from the American consciousness the extraordinary insights his films give on questions we have in the 21st century forgotten even to ask.
This web site is intended to provide information about, analysis of, and a thorough introduction to his work, and because of its nature, also into his life. There is (will be) space for anyone who has known him, or seen his work, and who wishes to contribute to this effort to join the discussion. Film critics, Kramer’s collaborators, people he knew and worked with, however briefly, are especially encouraged to contribute. In short, we hope this will be a gathering place which in its depth and breadth might attract film lovers, historians, social critics and commentators to a greater interest in the films, which comprise Kramer’s work.
While there are many sites which provide tantalizing bits: reviews of individual films or several of them, general commentaries attached to his obituaries, or as part of the all-too-infrequent film retrospectives, none have had the reach or the depth to which this site aspires. It can have this only if others join us in the work.
If you would like to write or have written about Kramer’s films and would like to post your work to this site, click here.
“I’m going to be 58.
I would never have believed I would get to this age.
It is true that at the time (I am talking about the USA in the 50s, but it could be any period in our national history, because it is our history and our contribution), there was an atmosphere of “mort jeune,” “sans issue,” and “ne perdant…. Death was in the air. Partly because we lived in a doctor’s house, of course, but the conversation about illness, death, and agony resembled a funeral dirge for life itself, and for the young boy who listened attentively, this couldn’t help but awaken a doubt about whether there wasn’t something worse than death.” (Trajets pp. 9-10)

I'm from NYC. The 50s were bad. I got reborn in the 60s. I left the states at the end of the 70s. I've been living around, mostly based in Paris, and I make movies.


I join my life to theirs. That fact lets me understand them and I let the camera roll.
