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<p>Guillen's poetry combined with 8mm landscapes and interviews with Cubans in and around Havana brings to the forefront the chilling realities and the absurd to fashion a zoo of natural and humanmade wonders alongside a wealth of social and political issues. </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>Time-lapses of cacti and succulent over the course of a year. Environmental data drives the tone and filtration of the sounds while the rising and setting of the sun illuminates the growth of plants moving in and out phase with one another.</p>
<p>The materiality of reversal-film material is being portrayed. This analogue technology, with its exposed chemical skeleton is clashing in an anachronistic filmic gag with contemporary digital animation. Colour is presented not as a natural, but a highly constructed medium in the expierence of film.</p> <p><strong>El Ritual del Color</strong> is a short experimental-essay which is questioning canonized and hegemonic film-rituals used to build and test cinematic-images. <em>(L.O.C.)</em></p>
<p>Among the arguments made in favor of cinema as a source of scientific knowledge, the most obvious one right from the start was that film not only records movement, but in many cases makes it perceptible in the first place. Magnification reveals cellular processes; time-lapse and slow-motion effects bring the bursting of pollen and sprouting of flowers up to the scale of human perception. In under the microscope, these and other famous motifs from the history of science films make their appearance. Just as often, however, it is hard to determine just what is pulsating, bursting, or proliferating in the picture. In her glittering remontage of science films from the 1920s, Michaela Grill does not spread out catalogues of motifs, but aims straight at the fascination of these recordings: their value as educational material was never neatly separated from their aesthetic appeal as a pure cinematic spectacle. Discrete forms begin to swarm; seemingly motionless things break out into choreographies. Found nature and technical image processes dance closely entwined. Grill uncovers these visual events and explores their cinematic value through color transformations loosely based on historical tinting, through cross-fading and cutting heightened to a point of flickering staccato, through rhythmic editing of image detail and the speed of movement. In the same way, in the course of the film Sophie Trudeau’s soundtrack changes, from the regularity of clock ticking to driving machine music. Like its source material, the film does not amount to ornamental abstraction, but alternates between recognizable objects becoming alien and illegible forms becoming familiar. Here, photographic reference does not serve as a confirmation of what is already known, but a starting point for exploration. The mysteries of cinematic perception are only just beginning under the microscope. (Joachim Schätz)</p>
<p>The Lilac Game is a celebration of springtime and a game that audiences can play.</p> <p>Volume I of Films for a Future, a series of handmade and hand processed 16mm nature films, intended for future viewers living in a time when the natural world no longer exist as it does today.</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>If his father had lived beyond the age of seventy-four, the following may have been the cinematic response to the city wherein 1944, he last saw his family. Filmed in the mid-1980s, Lodz, Poland. Constructed in 2012, Florence, Massachusetts.</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>