Embers from Yesterday, Aflame., dir. William Hong-xiao Wei (UK, 2022, 11’)
A transcendental meditation on withered trees struggling to be reborn. A fleeting glimpse into the seemingly trivial occurrences of daily life. A sheer ecstasy of physical intimacy viewed through celluloid films, in which the life of the emulsion is decaying during the lockdown, film footages were “disinfected” by disinfectant, surface cleanser and hand sanitizer gel, specifically, household chemicals which were alleged to “kill 99.9% of bacteria and viruses”, and which helped us prevent the spread of coronavirus. Returning images that have shapes to the shapeless, in the physical fragility of the cinematic medium, allows for the viewer’s hallucinatory perception of matter in a state of continual creation and dissolution. Through the evocation of the tension between transience and continuity, the film unfolds the dialectic of destruction and metamorphosis.
Clouds, dir. Mary Trunk (USA, 2023, 2’)
What do they mean to you?
Currents / Perpendicolare Avanti, dir. Federica Foglia (Canada, 2021, 13’)
Currents / Perpendicolare Avanti is a camera-less, hand-made, 16mm film collage, based on the artist’s autobiographical experience as an immigrant. The film explores the dynamics of inhabiting the in-between space of multiple countries and temporalities through visual and sound abstraction, interlacing and recycling pre-existing film materials and fragments of otherwise anonymous orphan films. Utilizing these so-called “scraps”, Currents is a film of extensive remediation, treated by hand through the use of the emulsion lifting technique, thereby re-imagining, re-constructing, and de-constructing the liminality of immigrant life. The re-writing of the self in Currents is produced through the archives of others, via associative montage and repeated performative acts on the surface of the film.
Useless Eaters (short version), dir. Ian Haig (Australia, 2022, 2’)
Mutated hackable bodies, bodies that didn’t quite work out and bodies that can no longer be classified as bodies. Drawing on the transhumanist musings of Yuval Noah Harari…. humans are now hackable animals.
Under the Midnight Sun, dir. Mélissa Faivre (France, 2022, 10’)
“Under the Midnight Sun” is a dance of light and shadows, textured grayscale expanding across the landscape of an apocalyptic city. The sun is moon and light. It unveils itself by means of visual pulsating dynamics, unstable frequencies and vibrating rhythms; until it disintegrates into particles and pixels and vanishes into darkness. This visual-musical piece is dark, worrying and calls to sensorial explorations into deeper energies.
Here are some Images, dir. Yannick Mosimann (Switzerland, 2023, 6’)
“Here are some Images” is a short film exploring the interplay between internal and external images, using hand-processed 16mm footage and musings on perception and memory.
Mafin proizvodnja audio-vizuelnih proizvoda 