Nathaniel Dorsky's existence and professional trajectory commenced to unfold in New York, where he was nurtured on a rich culinary blend of Westerns and Disney True-Life Adventures, which would ultimately influence his artistic inclinations. By the tender age of eleven, he had already commenced capturing 8mm cinematic masterpieces, a lifelong passion that would persistently accompany him on his creative journey.
At the dawn of 1963, a pivotal moment in the life of a then twenty-year-old visionary, Dorsky embarked on a cinematic journey, birthing his inaugural feature film, Ingreen, a thought-provoking and visually striking psychodrama that delved into the complexities of a young man's sexual awakening.
This landmark production served as a testament to Dorsky's burgeoning talent, as it was during its premiere that he crossed paths with fellow filmmaker Jerome Hiler, a chance encounter that would blossom into a lifelong partnership, further fueling his creative spark and serving as a constant source of inspiration.
In the year 1971, two visionary filmmakers embarked on a new chapter in their lives, relocating to the vibrant city of San Francisco, where they have resided ever since. Nevertheless, Dorsky's creative endeavors began to slow down during the 1970s, resulting in a prolonged period of dormancy, with a notable absence of new film projects.
It wasn't until 1982 that Dorsky returned to his craft, releasing the 55-minute feature film, Hours for Jerome. This ambitious project was a culmination of footage shot between 1966 and 1970, and it marked a significant departure from Dorsky's previous works. Hours for Jerome was a cinematic lyric poem, characterized by its complete silence and rooted in a centuries-old tradition of devotional art.
The film's unique blend of visuals and soundlessness created a sense of contemplation and introspection, inviting viewers to immerse themselves in the world of Dorsky's creation. Through Hours for Jerome, Dorsky continued to push the boundaries of his craft, exploring new ways to express himself through the medium of film.
Throughout the remainder of the 1980s, Dorsky continued to push the boundaries of his creative expression, venturing into uncharted territories and exploring novel mediums. One notable example of this experimentation is his 1987 film Alaya, which consisted exclusively of footage capturing the ephemeral, ever-changing nature of shifting sand.
