[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"tmdb:person\u002F1094686:{\"language\":\"en-US\",\"append_to_response\":\"combined_credits,images\"}":3},{"adult":4,"also_known_as":5,"biography":7,"birthday":8,"deathday":9,"gender":10,"homepage":11,"id":12,"imdb_id":13,"known_for_department":14,"name":15,"place_of_birth":16,"popularity":17,"profile_path":18,"combined_credits":19,"images":569},false,[6],"Robert Carlton Breer","Born in 1926 in Detroit, Robert Breer has spent fifty years building up a totally atypical body of work which plays with different genres and abolishes the notions of space and time.\n\nStarting off as a painter, he then deconstructed his neoplastic works and ended up with kinetic objects. He dealt next with the thresholds of awareness and perception, both as a sculptor and a film-maker. His films are composed of a jumble images that pass at great speed, while his Floats move almost imperceptibly, in accordance with an unpredictable logic.\n\nRobert Breer developed his light yet rigorous style while associating with the New York underground in the Pop years. Continuing his subtle exploration movement, he still today causes the space of reality-irrevocably unstable-to waver.","1926-09-30","2011-08-11",2,null,1094686,"nm1297099","Directing","Robert Breer","Detroit, Michigan, USA",0.6428,"\u002FeyMYnsyNQb6tUDV07Lk7Cv3n9cR.jpg",{"cast":20,"crew":121},[21,38,48,58,72,83,95,105,117],{"adult":4,"backdrop_path":22,"genre_ids":23,"id":25,"title":26,"original_language":27,"original_title":26,"overview":28,"popularity":29,"poster_path":30,"release_date":31,"softcore":4,"video":4,"vote_average":32,"vote_count":33,"character":34,"credit_id":35,"order":36,"media_type":37},"\u002Fsz5KXTW3ebnQLHRgZ4z7N8DgGm2.jpg",[24],99,190060,"He Stands in a Desert Counting the Seconds of His Life","en","A film collage tracing the story of the lives, loves, and deaths within the artistic community surrounding Jonas Mekas.",2.9532,"\u002FffTB0xCRFyxYme3LQUlwOKJpsEZ.jpg","1986-02-22",8.4,10,"Self (archive footage)","52fe4c559251416c910f1ba3",4,"movie",{"adult":4,"backdrop_path":11,"genre_ids":39,"id":40,"title":41,"original_language":27,"original_title":41,"overview":42,"popularity":43,"poster_path":11,"release_date":44,"softcore":4,"video":4,"vote_average":45,"vote_count":45,"character":46,"credit_id":47,"order":45,"media_type":37},[],974757,"Colliding","Shot in 1974, Colliding was made as a portrait of sculptor\u002Fanimator Robert Breer.",0.7707,"1989-01-01",0,"Himself","627c8f3b006eee00520eaf47",{"adult":4,"backdrop_path":11,"genre_ids":49,"id":50,"title":51,"original_language":27,"original_title":51,"overview":52,"popularity":53,"poster_path":54,"release_date":55,"softcore":4,"video":4,"vote_average":45,"vote_count":45,"character":56,"credit_id":57,"order":45,"media_type":37},[24],450952,"Robert Breer At Home","Burford met Breer in February 1992 and filmed his actions. Breer manipulates some of his mutoscopes: he leafs through some cards of his film in the making, Sparkill Ave! A dome-shaped sculpture slowly moves across the space.",1.1049,"\u002FiCC21A4KArbNOHDzyJFYvsJ2z0b.jpg","1992-01-01","","58e6d045c3a3687326045722",{"adult":4,"backdrop_path":59,"genre_ids":60,"id":61,"title":62,"original_language":27,"original_title":62,"overview":63,"popularity":64,"poster_path":65,"release_date":66,"softcore":4,"video":4,"vote_average":67,"vote_count":68,"character":69,"credit_id":70,"order":71,"media_type":37},"\u002F68Qic4gQ6YGoQdDyYxEhufJCunI.jpg",[24],130824,"As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty","A compilation of over 30 years of private home movie footage shot by Lithuanian-American avant-garde director Jonas Mekas, assembled by Mekas \"purely by chance\", without concern for chronological order.",1.8487,"\u002FtDaxB5juEGwXD7oZwh8IXsnisar.jpg","2000-11-05",7.8,87,"Self","59dd6297c3a368623e07d88f",3,{"adult":4,"backdrop_path":73,"genre_ids":74,"id":75,"title":76,"original_language":27,"original_title":76,"overview":77,"popularity":78,"poster_path":79,"release_date":80,"softcore":4,"video":4,"vote_average":81,"vote_count":36,"character":69,"credit_id":82,"order":81,"media_type":37},"\u002Fw5kolt7395WeLvt4UlMdgKl6VKx.jpg",[24],295120,"Birth of a Nation","Jonas Mekas assembles 160 portraits, appearances, and fleeting sketches of underground and independent filmmakers captured between 1955 and 1996. Fast-paced and archival in spirit, the film celebrates the avant-garde as its own “nation of cinema,” a vital community existing outside the dominance of commercial film.",1.9892,"\u002Fy5dmMIbRZ36wTxKlwZQ5dU3ko0N.jpg","1997-08-06",7,"59d9b6f192514124eb037357",{"adult":4,"backdrop_path":84,"genre_ids":85,"id":86,"title":87,"original_language":27,"original_title":87,"overview":88,"popularity":89,"poster_path":90,"release_date":91,"softcore":4,"video":4,"vote_average":92,"vote_count":93,"character":46,"credit_id":94,"order":10,"media_type":37},"\u002FaajwuhVG5N99xIYWnuFad6NsMD5.jpg",[24],85822,"Free Radicals: A History of Experimental Film","Experimental filmmaker Pip Chodorov traces the course of experimental film in America, taking the very personal point of view of someone who grew up as part of the experimental film community.",2.5284,"\u002FhGxn1l1XMR9x81STsd4oX16yjOD.jpg","2011-07-24",6.8,12,"5a5afde79251413f77019953",{"adult":4,"backdrop_path":11,"genre_ids":96,"id":97,"title":98,"original_language":27,"original_title":98,"overview":99,"popularity":100,"poster_path":101,"release_date":102,"softcore":4,"video":4,"vote_average":45,"vote_count":45,"character":56,"credit_id":103,"order":104,"media_type":37},[],1418912,"Solstice and Solyanka","Super 8 film. Observations of the Institute on Film, Video & Photography, Amherst, MA, summer 1975.  Among the cast of characters, in order of appearance, are Robert Breer, John Terry, Steve Ascher, Richard Leacock, Jon Rubin, Frank Daniel, Ed Emshwiller, Ann McIntosh, Terry Lockhart, Standish Lawder, Jerome Liebling.",0.4976,"\u002Fxv6t932MHHTZIfq31MZ5iNm94h4.jpg","1975-01-04","678a13e745f296f6011d6703",1,{"adult":4,"backdrop_path":106,"genre_ids":107,"id":109,"title":110,"original_language":111,"original_title":110,"overview":56,"popularity":112,"poster_path":113,"release_date":114,"softcore":4,"video":4,"vote_average":45,"vote_count":45,"character":115,"credit_id":116,"order":45,"media_type":37},"\u002FkQgBaT5aC7HPc5UdPMHgS1iUepm.jpg",[108],16,1712612,"FASES DE LA LUNA I","es",1.0758,"\u002Fe0FofvfEEG5UZOb4aAWqe8iXjhX.jpg","1952-07-12","director","6a2ab8bc32cfb01d71569bff",{"adult":4,"backdrop_path":106,"genre_ids":118,"id":109,"title":110,"original_language":111,"original_title":110,"overview":56,"popularity":112,"poster_path":113,"release_date":114,"softcore":4,"video":4,"vote_average":45,"vote_count":45,"character":119,"credit_id":120,"order":104,"media_type":37},[108],"autor","6a2ab8cbe6be46337d8eb0ba",[122,134,145,156,168,179,189,197,207,216,228,237,247,256,267,276,286,297,307,317,326,336,346,355,363,372,382,391,400,409,418,427,436,444,452,462,470,479,487,496,502,508,515,523,529,539,547,556,561,564],{"adult":4,"backdrop_path":11,"genre_ids":123,"id":124,"title":125,"original_language":27,"original_title":125,"overview":126,"popularity":127,"poster_path":128,"release_date":129,"softcore":4,"video":4,"vote_average":130,"vote_count":131,"credit_id":132,"department":14,"job":133,"media_type":37},[108],154412,"Bang!","An experimental film in which a photograph of an airplane turns into a wire diagram, then into an animated plane in flight, and then it explodes into words.",0.7581,"\u002Fs16cfAhlqUN7v9zLDxDZU2dTyBN.jpg","1986-12-31",5.7,21,"52fe4b609251416c910d8631","Director",{"adult":4,"backdrop_path":11,"genre_ids":135,"id":136,"title":137,"original_language":27,"original_title":137,"overview":138,"popularity":139,"poster_path":140,"release_date":141,"softcore":4,"video":4,"vote_average":142,"vote_count":143,"credit_id":144,"department":14,"job":133,"media_type":37},[],147988,"Homage to Jean Tinguely's 'Homage to New York'","A record, of sorts, of the birth and death of Tinguely’s famous auto-destructive sculpture. Filmed on the spot at MoMA, this film also exploits a wide range of camera and editing techniques to give it a life of its own, independent of and parallel to the subject. — Anthology Film Archives",0.6362,"\u002FkhBfsZNJUKM66SfUhYqE5OXySao.jpg","1960-12-31",4.7,9,"52fe4bbc9251416c7510c715",{"adult":4,"backdrop_path":11,"genre_ids":146,"id":147,"title":148,"original_language":27,"original_title":148,"overview":149,"popularity":150,"poster_path":151,"release_date":152,"softcore":4,"video":4,"vote_average":153,"vote_count":154,"credit_id":155,"department":14,"job":133,"media_type":37},[108],132171,"LMNO","Conceivably the best of all of Breer’s films to date – has more to do with figuration, according to Breer’s formulation regarding titles with letters or numbers. This becomes clear right away as the title letters are intercut with a flurry of fish swimming past the frame lines, which are made all the more literal through the associative chain established by a snippet of Schubert’s Trout Quintet heard on the soundtrack, along with footsteps – which continue over a profusion of other shapes, colors, and objects, including the title letters again. -- Jonathan Rosenbaum",0.8277,"\u002FRSHiuccUhXH7AEif1foOW4nuGx.jpg","1978-01-01",5.8,17,"52fe4b8bc3a368484e18e329",{"adult":4,"backdrop_path":157,"genre_ids":158,"id":159,"title":160,"original_language":161,"original_title":160,"overview":162,"popularity":163,"poster_path":164,"release_date":165,"softcore":4,"video":4,"vote_average":130,"vote_count":166,"credit_id":167,"department":14,"job":133,"media_type":37},"\u002F2glfyKLnB6BVYmTqtUQFSfLoR9h.jpg",[108],146986,"Fuji","xx","A live action footage of a smiling, bespectacled (presumably) Western tourist set against the familiar cadence of an accelerating train revving up as it leaves the station sets the mesmerizing tone for the film's abstract panoramic survey of an Ozu-esque Japanese landscape of electrical power lines, passing trains, railroad tracks, and the gentle slope of obliquely peaked, uniform rooflines as Breer distills the essential geometry of Mount Fuji into a collage of acute angles and converging (and bifurcating) lines .",0.9159,"\u002FuRKM0mWEkvDIaJmpXJ5fzC1tsaY.jpg","1974-12-31",24,"52fe4b999251416c75108283",{"adult":4,"backdrop_path":11,"genre_ids":169,"id":170,"title":171,"original_language":27,"original_title":171,"overview":172,"popularity":173,"poster_path":174,"release_date":175,"softcore":4,"video":4,"vote_average":176,"vote_count":177,"credit_id":178,"department":14,"job":133,"media_type":37},[108],147395,"Blazes","100 basic images switching positions for 4000 frames.",0.6917,"\u002F5GDSCjbrNRqouDQQ4vGzokuhNJj.jpg","1961-12-31",4.9,28,"52fe4ba49251416c751096bf",{"adult":4,"backdrop_path":11,"genre_ids":180,"id":181,"title":182,"original_language":27,"original_title":182,"overview":183,"popularity":184,"poster_path":11,"release_date":185,"softcore":4,"video":4,"vote_average":186,"vote_count":187,"credit_id":188,"department":14,"job":133,"media_type":37},[108],147493,"A Man and His Dog Out for Air","While birds can be heard singing a shrill song, lines crisscross wildly as if they aimed to form shapes. Their efforts seem hopeless until the very end.",0.7806,"1957-12-31",5.4,26,"52fe4ba89251416c75109e1b",{"adult":4,"backdrop_path":11,"genre_ids":190,"id":191,"title":192,"original_language":27,"original_title":192,"overview":193,"popularity":194,"poster_path":195,"release_date":185,"softcore":4,"video":4,"vote_average":176,"vote_count":108,"credit_id":196,"department":14,"job":133,"media_type":37},[108],147611,"Jamestown Baloos","Cut-outs of war machines and the figure of Napoleon – contributors to an anti-war theme – encounter abstract shapes, line drawings, old-master landscapes, short bursts of ‘real-time’ landscapes and shakily photographed gestural watercolors. … ‘a synthesis of all previous techniques.’",0.7648,"\u002FstT2D2Z1TII39DRQyJt9n2Q2UPz.jpg","52fe4bac9251416c7510a6d5",{"adult":4,"backdrop_path":11,"genre_ids":198,"id":199,"title":200,"original_language":27,"original_title":200,"overview":201,"popularity":202,"poster_path":203,"release_date":204,"softcore":4,"video":4,"vote_average":205,"vote_count":10,"credit_id":206,"department":14,"job":133,"media_type":37},[108],209741,"Form Phases I","Breer's earliest experiments in animation are wonderfully dense yet lyrical abstractions based on Breer's own geometric paintings. - Harvard Film Archive",0.5813,"\u002F8L2ic7oHodF3AImboHGzGPOWASK.jpg","1952-01-01",6.5,"52fe4d6cc3a368484e1e8853",{"adult":4,"backdrop_path":11,"genre_ids":208,"id":209,"title":210,"original_language":27,"original_title":210,"overview":201,"popularity":211,"poster_path":212,"release_date":213,"softcore":4,"video":4,"vote_average":214,"vote_count":10,"credit_id":215,"department":14,"job":133,"media_type":37},[108],209742,"Form Phases II",0.5616,"\u002F1EEs7K9W8hbxGUA7xpeA64QqGQt.jpg","1953-01-01",6,"52fe4d6cc3a368484e1e885d",{"adult":4,"backdrop_path":217,"genre_ids":218,"id":219,"title":220,"original_language":27,"original_title":220,"overview":221,"popularity":222,"poster_path":223,"release_date":224,"softcore":4,"video":4,"vote_average":225,"vote_count":226,"credit_id":227,"department":14,"job":133,"media_type":37},"\u002FjUobPCajNIaUUVTkAguRZ8Th0rc.jpg",[108],209744,"Recreation","Featuring a commentary by Noël Burch (in nonsense French), Recreation's rapid-fire montage of single-frame images of incredible density and intensity has been compared to contemporary Beat poetry.",0.8352,"\u002FejzmgvIwomyO0O3PIAFAQrvdzyy.jpg","1956-01-01",5.2,20,"52fe4d6cc3a368484e1e8867",{"adult":4,"backdrop_path":11,"genre_ids":229,"id":230,"title":231,"original_language":27,"original_title":231,"overview":232,"popularity":233,"poster_path":234,"release_date":235,"softcore":4,"video":4,"vote_average":176,"vote_count":143,"credit_id":236,"department":14,"job":133,"media_type":37},[24,108],209746,"Fist Fight","Breer's extraordinary autobiographical film combines personal and family photos with intense colors, textures and geometric abstractions. Originally presented as part of Karlheinz Sotckhausen's 1964 premiere of Originale. - Harvard Film Archive",0.8902,"\u002FpAxXtBxQQfViTbVaZTRW1SpWzUI.jpg","1964-01-01","52fe4d6cc3a368484e1e8871",{"adult":4,"backdrop_path":11,"genre_ids":238,"id":239,"title":240,"original_language":27,"original_title":240,"overview":241,"popularity":242,"poster_path":243,"release_date":244,"softcore":4,"video":4,"vote_average":245,"vote_count":36,"credit_id":246,"department":14,"job":133,"media_type":37},[108],209749,"66","Abstract, quasi-geometric study in interrupted continuity.",0.5734,"\u002FguUZZjGZdexbxhyTQ3qqIpz3h54.jpg","1966-01-01",4.8,"52fe4d6cc3a368484e1e887b",{"adult":4,"backdrop_path":11,"genre_ids":248,"id":249,"title":250,"original_language":27,"original_title":250,"overview":251,"popularity":252,"poster_path":253,"release_date":254,"softcore":4,"video":4,"vote_average":225,"vote_count":131,"credit_id":255,"department":14,"job":133,"media_type":37},[108],209752,"69","Robert Breer animation from 1969.  16mm, color, silent, using spray paint & stencils.",0.5677,"\u002Flj33kNS5OS21hxAp6rmhI7huTOB.jpg","1969-04-10","52fe4d6cc3a368484e1e8885",{"adult":4,"backdrop_path":11,"genre_ids":257,"id":258,"title":259,"original_language":27,"original_title":259,"overview":260,"popularity":261,"poster_path":262,"release_date":263,"softcore":4,"video":4,"vote_average":264,"vote_count":265,"credit_id":266,"department":14,"job":133,"media_type":37},[108],209754,"70","\"Made with spray paint and hand-cut stencils, this film was an attempt at maximum plastic intensity… Places Breer for the first time among the major colorists of the avant-garde.\" – P. Adams Sitney",0.5739,"\u002FhherC6xlLLGSQ4UR3D5g4q51fT7.jpg","1970-01-01",5.3,18,"52fe4d6cc3a368484e1e888f",{"adult":4,"backdrop_path":11,"genre_ids":268,"id":269,"title":270,"original_language":27,"original_title":270,"overview":271,"popularity":272,"poster_path":273,"release_date":274,"softcore":4,"video":4,"vote_average":264,"vote_count":71,"credit_id":275,"department":14,"job":133,"media_type":37},[],209756,"Pat's Birthday","Breer was influenced by the new performance art and \"happenings\" making waves in the avant-garde of Europe and New York. He worked briefly with Claes Oldenburg and his performance pieces resulting in a 13 minute film, Pat's Birthday (1962). - AWN",0.6979,"\u002Fz3Ur7WiqUsAZqIr0LtBgPO3kS0v.jpg","1962-01-01","52fe4d6cc3a368484e1e8953",{"adult":4,"backdrop_path":11,"genre_ids":277,"id":278,"title":279,"original_language":161,"original_title":279,"overview":280,"popularity":281,"poster_path":282,"release_date":283,"softcore":4,"video":4,"vote_average":186,"vote_count":284,"credit_id":285,"department":14,"job":133,"media_type":37},[108],209758,"Breathing","Breer’s animation explores the theme and variation of the drawn line: a line in constant movement and transformation. With a very sketchy style, he demonstrates how a simple, abstract image can fill and satisfy the imagination of the film viewer. - MoMA",1.0036,"\u002FevjSQ1JCN0cL28koqY3wx9yoGF8.jpg","1963-01-01",8,"52fe4d6dc3a368484e1e895d",{"adult":4,"backdrop_path":11,"genre_ids":287,"id":288,"title":289,"original_language":161,"original_title":289,"overview":290,"popularity":291,"poster_path":292,"release_date":293,"softcore":4,"video":4,"vote_average":294,"vote_count":295,"credit_id":296,"department":14,"job":133,"media_type":37},[108],199826,"Eyewash","A free flow from photography to geometric abstraction hand-painted by Breer. - Harvard Film Archive",0.8643,"\u002Fefo0KppeBBNZDfEswSakyIlCrvq.jpg","1959-01-01",5.1,23,"52fe4db09251416c9111eb39",{"adult":4,"backdrop_path":11,"genre_ids":298,"id":299,"title":300,"original_language":27,"original_title":300,"overview":301,"popularity":302,"poster_path":303,"release_date":304,"softcore":4,"video":4,"vote_average":245,"vote_count":305,"credit_id":306,"department":14,"job":133,"media_type":37},[24,108],247630,"What Goes Up....","Robert Breer’s What Goes Up... continues his “kitchen sink” approach of including as many different kinds of things as possible. Central to his art are a series of tensions. Rather than using animation to produce seamless illusions, his films reveal cinema’s dual nature as both an illusion of movement and a succession of stills. The ultimate effect of his work is ecstatic: by combining various rhythmic patterns, abstract and photographed shapes, and flatness mixed with depth illusions, Breer energizes ordinary eyesight. The whole world can seem more alive, alive with rhythms and colors and shapes and textures as well, after seeing one of his films. But Breer’s films also often have a theme of failure, of failed movements and failed aspirations, and the title What Goes Up..., in referencing the idiom “What goes up must come down”, refers to his childhood dreams of flying (illustrated here as in many of his films with airplanes) as well as to the limpness that follows orgasm for males.",0.6758,"\u002FoTcZ4c2vxMXermBDkMQBbccMKC7.jpg","2003-10-17",15,"52fe4f28c3a36847f82c1887",{"adult":4,"backdrop_path":11,"genre_ids":308,"id":309,"title":310,"original_language":27,"original_title":310,"overview":311,"popularity":312,"poster_path":313,"release_date":314,"softcore":4,"video":4,"vote_average":315,"vote_count":284,"credit_id":316,"department":14,"job":133,"media_type":37},[108],257906,"T.Z.","An elegant home movie, its subject is Breer's apartment which faces the Tappan Zee (T.Z.) Bridge. It is permeated, as are all his films, with subtle humor, eroticism and a sense of imminent chaos and catastrophe.",0.9995,"\u002FvsyD9RQwEkNP0LMPtGazeXjby1t.jpg","1979-01-01",6.6,"53154bf9c3a36829e20063a5",{"adult":4,"backdrop_path":11,"genre_ids":318,"id":319,"title":320,"original_language":27,"original_title":320,"overview":321,"popularity":322,"poster_path":11,"release_date":323,"softcore":4,"video":4,"vote_average":205,"vote_count":324,"credit_id":325,"department":14,"job":133,"media_type":37},[108],211244,"Swiss Army Knife with Rats and Pigeons","Utilising an apparently new-found obsession with the colour red and reinvigorating some of the circular imagery of A Man and His Dog Out for Air and 69, Breer delves into the very basis of animation to explore how a variety of easily recognisable objects can be portrayed and manipulated differently using pixillation and classically drawn animation.  -Malcolm Turner",0.7523,"1980-01-01",11,"535dd92dc3a36830b9004c02",{"adult":4,"backdrop_path":11,"genre_ids":327,"id":328,"title":329,"original_language":27,"original_title":329,"overview":330,"popularity":331,"poster_path":332,"release_date":333,"softcore":4,"video":4,"vote_average":334,"vote_count":81,"credit_id":335,"department":14,"job":133,"media_type":37},[108],277158,"Trial Balloons","An experiment in associative spontaneity.",1.0167,"\u002Fzr8oR5Op3IzPWZZ77xfy0a4vzTw.jpg","1982-01-01",5.6,"539f88c2c3a36851120002ab",{"adult":4,"backdrop_path":11,"genre_ids":337,"id":338,"title":339,"original_language":27,"original_title":339,"overview":340,"popularity":341,"poster_path":342,"release_date":343,"softcore":4,"video":4,"vote_average":344,"vote_count":143,"credit_id":345,"department":14,"job":133,"media_type":37},[108],293527,"Gulls and Buoys","An abstract view of a seacoast landscape, created by mixing original line drawings and rotoscoped imagery traced from live-action footage, presented against a sound track of seaside noises.",0.5804,"\u002FeqMD52eaSj0ZqOr83oJwY9vIuwR.jpg","1972-01-01",6.1,"541b0f1d0e0a261ca3000378",{"adult":4,"backdrop_path":11,"genre_ids":347,"id":348,"title":349,"original_language":27,"original_title":349,"overview":350,"popularity":351,"poster_path":352,"release_date":224,"softcore":4,"video":4,"vote_average":353,"vote_count":10,"credit_id":354,"department":14,"job":133,"media_type":37},[108],293532,"Motion Pictures No. 1","Experimental film, in which against a black field, constantly changing coloured strips of paper cross the screen, meet each other and deflect at angles.",0.6076,"\u002FhO0TFT8taew4gW6drNmUx7iUBsN.jpg",7.5,"541b12f1c3a36838460003eb",{"adult":4,"backdrop_path":11,"genre_ids":356,"id":357,"title":358,"original_language":27,"original_title":358,"overview":201,"popularity":359,"poster_path":360,"release_date":361,"softcore":4,"video":4,"vote_average":92,"vote_count":93,"credit_id":362,"department":14,"job":133,"media_type":37},[108],350062,"Form Phases IV",0.6069,"\u002FlSmvffbt6tAxdHy1HPOZBJPWciU.jpg","1953-12-31","55ac6bfac3a368648e006929",{"adult":4,"backdrop_path":11,"genre_ids":364,"id":365,"title":366,"original_language":27,"original_title":366,"overview":367,"popularity":368,"poster_path":369,"release_date":370,"softcore":4,"video":4,"vote_average":81,"vote_count":81,"credit_id":371,"department":14,"job":133,"media_type":37},[108],350068,"Time Flies","Personal photos are interspersed with fragmentary drawings and flashes of colour, observed and\u002For remembered everyday events - all of which add to a general sense of reminiscence. 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