Playlist
<p>On the beach where ancient poetry was saved with all its creatures, a romantic artist tries to convince the bourgeois audience of the timelessness of the past.</p>
<p>Three continuous zooms towards a landscape are deconstructed into a discontinuous appearance of single frames. The panoramic view is obstructed, the organic movement of the hand dissolved into structural variation of the basic units of film. Indexical content is inevitably present on the physical film strip and yet lost in the structure of the film.</p>
<p>"Humans become through a saturated, situated engagement of thinking and feeling with things and form-generating materials" - Lambros Malafouris</p>
<p>Celluloid film is reconfigured into a graphic musical score, with obscure narratives emerging as the film is reanimated.</p> <p>35mm, 16mm, std 8mm, super 8mm and 9.5mm gauge films are hand edited, glued, taped and scraped together into one continuous 6 meter collage, before digital stop motion brings the material back to life in its new incarnation.</p> <p>'Cinegraffic Score' continues an ongoing interest in reconfiguring abandoned, decaying and orphaned celluloid material into complex collages with ambiguous fragmentary narratives. </p> <p>This project also expands on previous experiments in designing graphic scores - where the representation of music is achieved through the use of visual symbols as oppose to traditional music notation.</p>
<p>The visible spectrum is a portrait of five people who survived the impact of the lightning, this documentary elaborates a sensible reflection about life when it has brushed so suddenly against death.</p>
<p>A film about time, memory, fear, and the challenges of holding onto joy.</p>
<p>I’m on the island, thinking of you, trying to find something familiar that will make you feel less far away. For centuries, a surveying method using triangulation has been used to find the location of a point too far away to measure. By determining the relative angles between near points of a triangle, one only has to be able to see the distant third point in order to plot where it is on a map. Using this method, complicated coastlines have been mapped, arcs of longitude established, and the shape of the earth itself discovered.</p>
<p>The electromagnetic landscapes of Sao Paulo and Rio de Janeiro go on an irregular basis and it is possible to see what's outside the frame. This image hacking its connected to the poem "E se Jesus fosse preto" (And if Jesus was black) from the Brazilian poet Bruno Negrão, who proposes a new way to imagine some of our ingrained beliefs.</p>
<p>Billionaires Gnaw Their Tongues From The Pain aka Lost Leaders #22 (2021) is another handmade short created in collaboration with sound artist Jackie Gallant, drummer for Montreal band Lesbians on Ecstasy. Billionaires... combines 16mm and 35mm ‘found’ footage, hand-woven elements, bits and pieces from the earliest days of the Lost Leaders project, and DIY frame-by-frame scanning using a Lego-modded lightbox.</p>
<p>Imagining possibilities of disembodied being — a cow becomes meat becomes man becomes angel — while a surveillance balloon hovers overhead.</p>
<p>Created alone in the desert, imaginary structures are built and destroyed through seeking out the edges of an unknown landscape. We keep finding ourselves at the center of something. Shot on a LomoKino, 35mm to digital</p>
<p>The voices of five women gradually fill the sound space of the film, weaving a pattern: a tarot card reader; a woman surviving one of the most horrific cases of sexual violence and homicide in Italy in the 1970s; a woman accused of the homicide of four people; a woman who's obsessed with the idea of death while another seeks an answer to violence through religious practice. These voices bring out, in different ways, the relationship to life through the discourse of death.</p>
<p>Building walls along lines on the map is the perfect way to do politics by managing fears. That is why the fairy tale about the Great Defensive Wall On The Border is still told and still eagerly listened to. This film is an expression of anxiety about living in a restricted space. High walls with musty air inside - it is easy to suffocate in an airtight container. The more the wall protects me, the more I feel trapped. Surrounded from the inside.</p>
<p>A kaleidoscope of colors and foliage expressed through in-camera techniques and chemical experimentations during the hand-developing process. An amplified experience of the nature around us.</p>
<p>Super Gab is a shot completely on Super 8 reversal film (Tri-X & Ektachrome) and then hand painted and scanned back in. The results were then arranged in strips to emulate how it looks when film passes through the projector.</p>
<p>The music video to 'Raum' was shot on a Canon Super-8 camera during late 2020 and early 2021. It portrays the band’s creation process at their Berlin studio space and the surrounding neighborhood of Neukölln. The choice of shooting on film was also an homage to Edgar Froese’s Super-8 videos, filmed while being on tour or in the studio with Tangerine Dream.</p>
<p>Spectacle of change Gradual deterioration Annihilation of beings and things Attempt to escape it</p>
<p>Drawn from Super 8 films in the artists’ personal archives as well as found amateur 8mm footage, Events in the Tunnel presents an absurdist abbreviated retelling of Canada’s colonial history as defined by that great colonial trope, the cross-country train trip. In the transitional void of a train tunnel, we witness familiar 19th and 20th century paradigms of white middle-class conformity as represented by images of travel, amusement, and domesticity, with Canadian culture embodied by a chimeric portrayal of the early 20th century painter Tom Thomson.</p>
<p>An existential drama exploring the universal themes of death and rebirth. Tape Letters from the Waiting Room is an experiment in film archaeology and magnetic memory as it navigates past life experiences. Shifting in succession from the mundane to the metaphysical, the film is composed of extant 16mm found footage from the past century. An original soundtrack by Mark Vernon encompasses a rich collection of domestic tape recordings; audio letters, dictated notes, found sounds and other lost voices.</p>
<p>Grafting, the act of placing a portion of one plant into a stem, root, or branch of another so that a union will be formed and the partners will continue to grow [Encyclopedia Britannica]. Following a similar approach, several 8mm and 16mm home movies (c1930s - c1970s) are assembled into a hand-made collage reflecting on the personal and cultural process of "becoming" a woman. The original found footage, mainly portraying women intent in their domestic lives, has been collected obsessively from eBay auctions, then remediated through a number of artisanal techniques: celluloid decay in soil and water, emulsion scratching, painting on film, digital manipulation and finally, emulsion lifting. The latter by soaking the film in a bath, slowly removing the image from its base, and placing it on another, a celluloid graft.</p>
<p>Created on an optical printer from hand-painted 16mm film, this moving image object embodies a state of mind about benevolence.</p>
<p>Where to restart if not from our memory to imagine the future after this global emergency? In the period of isolation caused by Covid-19, in which we all witnessed a time as hard as it was suspended, seven authors set out in their own way to question themselves, inspired by this fragile present and by looking to the past without nostalgia. They reflect on what has been denied to us and imagine the world as it will become: Stories We Will Become.</p>
<p>In order to think and study about happiness, I chose to make my film by going through and re-elaborating the "home movies" of Adolf Hitler and Eva Braun, dated between 1938 and 1944, images of a private life, far from the clamor of the war and rich in moments of family joy, those that the "intimate circle" of the German dictator and his companion spent in the mountain refuge-house of Berghof or in the various trips around Europe.</p>
<p>Halfway between a documentary and an artistic installation, Heimat, starting from the creative fragmentation of the Last Letters from Stalingrad, a collection of letters written in December 1942 by German soldiers besieged in the Stalingrad sack, is a sensorial and universal investigation of that very mysterious object that is the memory of Home: a mysterious, elusive object, always on the verge of fading. In Heimat, the paste of old family films, brushstrokes of color and chemical residues of decomposing film coexist. A reality that becomes oneiric, almost hallucinatory. The images and sounds in Heimat express all their materiality, their being objects marked by time, consumed, and ruined. An extremely sensorial cinematic experience to reflect on memory what binds us to our affections and everything we call home. In a word: our Heimat.</p>
<p>The revelation of an image, which progresses to the heart of the materia, seized in an incoercible movement: that of a dystopia in progress. A primitive entity on the verge of cataclysm, an infinite flight forward, until the complete dissolution of all forms and figures. In which dark forest have we lost our way?</p>
<p>As adjustments between images rather than within them, the film roams provissorialy along the hidden folds of things, through which it slips systematically. Phagocytized by its surroundings, the film vanishes within everything that seems to be alive around it. Staring at the horizon, yet landing on the surface, such metamorphoses do not necessarily concern the intimate nature of things, out of respect for that curios dualism which somehow distinguishes them unconditionally as vague and singular cosmologies.</p>
<p>Super 8mm and 16mm footage and expired cartridges found and shot in Quebec reflect on words written in Beirut to create a melancholic postcard between both worlds.</p>
<p>P L U M E responds to a 2019 State of Canada's Birds Report issued by Environment and Climate Change Canada alerting that the diversity and abundance of Canada's birds are in sharp decline. Thinking about this report and the effects of climate change and our interconnectedness with the natural world, I became an avid bird watcher, recording bird songs and collecting and labelling discarded feathers and down blends. The images in P L U M E are imprints from feathers soaked in a plant-based phenol solution, a phytogram technique developed by filmmaker Karel Doing, and reanimated using optical printing and digital editing techniques.</p>
<p>…..the moment the shadow swells is the moment the image is realized….<br /> "....as the visitation began to manifest itself visibly in the room, at first only as a quavering illumination, like that from a guttering candle, and then as the shape of a woman. She shimmered, and her light shook. Around her the shadows trembled. And then it was Gladys-nobody else-flickering and false, like a figure in a motion picture." Denis Johnson, Train Dreams</p>
<p>Based on 9.5mm found footage filmed by Belgrade cine amateur between the two world wars, this film reflects the private family history as a return of suppressed Yugoslav narrative of repetition. Following the life of the family in the country that was rebuilt to disappear again, it confirms the words of Claude Simon that although it repeats itself - history should be repeated by every individual in his generation.</p>
<p>Don your 3D glasses, open your mind, allow the denial of questionable financial decisions made by an aspiring young artist to dissolve on your tongue, and take a trip over 10 years to a delusory destination where the student loan debt crisis and one advanced art degree converge. Lean into the darkness of capitalized interest or remove your glasses and dream in color of solvency that may never come. Energetically steeped in student loan pay-off balances that exceed original borrow amounts and dedicated to all artists who understand but cannot bear to speak of it.</p>
<p>This film examines the relationship between the 1950's movie gimmicks and the contemporary blockbusters through the synesthesia of the classical abstract cinema.<br /> "Bay’s highest inspirations are those of a virtually experimental filmmaker of pure sensation ; the rush of sensation is also a temptation for experimental filmmakers who often don’t keep their own images onscreen very long (cf. Stan Brakhage)." —Richard Brody, The New Yorker</p>
<p>Dr. Moreau is an abstract horror short, adapted from H.G.Wells' classic novel, that will invite the viewer to board on a tangible journey to the borders of science, where the differences between nature and humanity are blurred.</p>
<p>The early avant-garde filmmakers believed that the cinema had the function of a machine, made to generate pure feelings. The main part of this "machine" was the celluloid, which has disappeared along with the flickering ghosts inside of it.</p>
<p>"Közért" (translation: "for the public") was a government owned chain of stores in Hungary, during the communist era (1948-1989). The word Közért is still used in the Hungarian language. Our film was made from the 35 mm celluloid raw footage of its advertisement: the film strips were digged in the soil, rotten with food and cut up in pieces.</p>
<p>The Philosophy of Horror – A Symphony of Film Theory is a seven-part abstract abstract adaptation of Noël Carroll’s influential film theoretical book of the same title (published in 1990), which is a close examination of the horror genre.</p>