Every year about this time, the New York Film Festival opens a window onto an area of moviemaking that usually gets far less attention than it deserves: avant-garde film, which is less devoted to commercial storytelling than it is to poetry-like explorations of ideas, emotions, and the language of cinema itself.
Conventional wisdom holds that "experimental" works are too offbeat and exotic to gain substantial audiences.
But this annual Lincoln Center event proves otherwise when it draws large, enthusiastic crowds to the spacious Walter Reade Theater for four diversified programs of forward-looking films.
This year's edition of "Views from the Avant-Garde" was dominated by two highly respected figures with very different sensibilities.
Robert Beavers, who presented newly refurbished versions of three superb works originally shot in the 1970s, sees film as a means of conveying "the serenity of a thought without words," as he writes in a program note.
He is also fascinated by cinema as an exquisite meeting place of aesthetics and technology. This makes him a philosophical descendant of Leonardo da Vinci, the Renaissance genius whose experiences inspired "From the Notebook of...," the first and most brilliant Beavers film in the program.
Interests in art and science also motivate Craig Baldwin, whose "Spectres of the Spectrum" is an exhilarating "activist science- fantasy collage." His film blends new material, clips from vintage movies, and high-energy narration into the …