"One week after 9/11, independent filmmakers Jay Rosenblatt and Caveh Zahedi put out a call to over 150 experimental and documentary filmmakers asking for contributions to a collective film project (Underground Zero) addressing those tragic events and their aftermath. My five-minute contribution, Innocence and Despair, provided me with an opportunity to make my first digital video (with material culled from 16mm footage, both archival and my own) and to make something of a public work, something I had never done before. The title is copped from a favorite album of mine (The Langley Schools Music Project) that was originally recorded by Hans Fenger in 1976-77 with his grade school students singing popular songs of the day. I was meditating on ideas of before and after, of how the summering people in my little film could never have imagined looking up at the sky at a world such as existed on the day…" —Phil Solomon

A little nachtmusick, a deep blue overture to the series. Breathing in the cool night airs, breathing out a children's song; then whispering a prayer for a night of easeful sleep. Preserved by the Academy Film Archive in 2012.

A film Solomon made for his wife on the occasion of their marriage.

Nocturne evokes one of the most magnificent films of Brakhage: Fire of Waters. It takes place in a suburb populated by children playing and indistinct parental figures. The narrative plot might suggest that it was a boy's night-time plays; The flashes of a torch in a dark room evoke fights and aerial bombardments. An impression of hostility and a feeling of horror interferes in all the movements ... The fantasy is tinged with nightmare, a storm of repressed emotions hides behind the calm facade of this house. In Nocturne, found footage blends so well with the threat that its perception produces a discharge from the unconscious.

The film combines, through a variety of optical printing techniques, documentary archival footage, images from the The Golem (1920), and Solomon’s cinematography to evoke the legendary tale of Rabbi Löw’s monster in order to save the Jewish population of the 16th century Prague ghetto.

A re-make of Andy Warhol’s Empire from high atop the Manhattan Island of Grand Theft Auto IV (“Liberty City”), far from the madding crowd of thieves, cops, prostitutes and murderers down below. I hijacked a copter, leaped onto the rooftop of an adjacent building, spawned a scooter out of the thin air and then gingerly drove it to the very edge of the precipice in order to roughly approximate that familiar view from July 25-26, 1964.

A brief short of Phil Solomon and Stan Brakhage going to the movies in the spring of 2002.

Part of Solomon’s acclaimed Grand Theft Auto series, titled “In Memoriam”, a body of work shot entirely within the virtual world of the Grand Theft Auto video game.

In 2005, Phil Solomon collaborated with his best friend, the highly respected filmmaker Mark LaPore, on a short digital video entitled Crossroad, which they made as a get-well offering for a mutual friend [David Gatten].

"No filmmaker of the 1980s knew as much as Phil Solomon of affirming the importance of multiple layers in the visual production of images. Solomon perpetuates the Brakhagian tradition of creating a succession of images whose logic comes from a large number of rhythmic sources, formal, associative, and whose coherence passes from one source to another. Here, as with Brakhage, one must be spoiled in the trance offered by Solomon, and be sufficiently assured to follow a structure that is based as well on the melody, the harmonics and the flashes of metaphors as on a narrative plot. The Secret Garden is one of Solomon's best films. Like Thornton and Klahr, there is the shadow of a story here, which has to do with the passage from innocence and experience to terror and ecstasy." – T. Gunning.

Synchronized projections on three screens and deteriorated images create an impressionistic journey throughout the cataclysmic history of the United States.

Part of "In Memoriam", a body of work comprising several videos, shot entirely within the virtual world of the Grand Theft Auto video game. Solomon transformed Liberty City, the ersatz metropolis based on New York City in which the game is set, into a reflective space of stillness: devoid of players, full of melancholy, nostalgia, loss, grief, and instances of compelling poetic beauty. This work was created in response to the passing of Solomon's lifelong friend, Mark LaPore, at the age of 53, on September 11, 2005.

16mm胶片作品，时长15分钟。 受安腾广重的木雕作品启发的短片，布拉哈格的刮划胶片感光层作品在Solomon设计的灯光下被打亮并增加了一种独特的质感。 两位大师的合作呈现出了一部唤醒野性的自然之力的抽象演绎作品。布拉哈格刮划的胶片盘被Solomon的灯光以及上色转变成了一场色彩的洪流。 本片同时也是布拉哈格巨大作品集“…”系列的一个子作品。

The second work in the trilogy In Memoriam: Mark LaPore, constructed through the appropriated world of Grand Theft Auto video game.

“A meditation on memory, burial and decay – a belated kaddish for my father.” (Phil Solomon)

This film was a commission from filmmaker Chuck Workman for his feature film What Is Cinema? Solomon used outtakes from his own three-channel video American Falls (2010). A master of both experimental film and digital recycling, Solomon applies his alchemy to footage of Chaplin and Keaton.

Trivia: dedicated to Stan Brakhage