Experimental

Pierre Rissient isn’t famous among French public, but he’s a respected critic who has, over many years of serving as consultant to the Cannes Film Festival and other high profile cinema showcases, pushed then unknown and now famous film directors–Quentin Tarantino, Clint Eastwood and Hou Hsiaohsien, among them–into the spotlight. He also has a long experience in the industry, assisted Godard in the making of ‘A bout de souffle’, produced Rohmer’s ‘L’ Anglaise et le duc’, among other things.Read More »

A musical exploring the complex relationship between an artist and his muse.
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Looking outside and looking back in the same moment; the collision of memory and reluctance. In Returning Susan Stein achieves a simultaneous sense of identification and displacement by filming from the ‘inside out’ – a subjective camera places us inside a house, behind a door, peering through blinds – and from the ‘outside in’ through a voice-over whose broken streams of memory describes ‘her’: “Fragments – she arranged them as moments to be watched.” Filmed in black and white, it is though we were invited into the shadowy area of our own fragmentation, our own sense of stopping and starting.Read More »

Synopsis
To tell a history through architecture and music, the film matches the styles of Moscow’s 20th- and 21st-century buildings with electronic variations of the Soviet and Russian national anthem. The juxtaposition captures an aesthetic evolution driven by the evolution of ideology.Read More »

Repertory consists of one continuous tracking shot, during which the camera completely circles the outside of a locked and empty theatre, whilst a voice describes a three week programme of daily ‘imagined presentations’ inside the theatre. The contrast between the documentary image and fictional narrative is exaggerated by the nature of the descriptions, which are wittily absurd and fantastic – the presentations include a domestic interior covered in melting slabs of butter; an old aeroplane, an illuminated fish tank, etc. Extrapolated partly from Breakwell’s frequent visits to Nottingham Playhouse in the late 1950s, the film plays out with peculiar effectiveness his interest in the relationship between words and pictures.Read More »

Guy Sherwin studied painting at Chelsea School of Art in the late 1960s before being drawn to the radical film practice of the London Film-Makers’ Co-operative (now LUX) where he taught printing and processing during the mid-’70s. His films investigate fundamental qualities of cinema such as light and time, and often use serial forms or live elements to extend its possibilities. The unique, elusive qualities of analogue film are explored through experiments with sound, image and film in live performance.Read More »

“This film isn’t listed in the official corpus of Oliver Mosset’s pictorial works, doesn’t appear in the (now historicized) filmography of the Zanzibar group (created one night in May 1968), but is related to Mosset’s photographical oeuvre, a process of random production emancipated from the subject and from representation. Film Porno is only a sequence taken from history, an abstract moment dealing with reality and chance.”
“After having spent a year in Warhol’s Factory, painter Olivier Mosset returned to Paris with an appetite for film and began hosting Super 8 nights in his apartment. UN FILM PORNO is a miniature sample.”Read More »

Mongolia. A place of many stories. Vast and endless steppes, mountains and deserts. Chinggis Khaan, symbol for The Land of the Blue Sky. But what exactly is the true face behind this least populated country of the world?

As an audio and visual experience this film brings you in the middle of a journey through Chandmani Sum, a small village in West Mongolia. Through the eyes of an anonymous person we witness an experimental view on the real life of Mongolian countryside.

–Rowan Lee HartsuikerRead More »

Anne Rees-Mogg was born in 1924 and died in 1984. She studied at Bristol Art School and Central School of Arts and Crafts before becoming an inspiring and dedicated teacher herself at the Regent Street Polytechnic from 1951 and Chelsea School of Art from 1964 to 1984. She was a committed advocate of artist’s filmmaking and was Chair and Director of the London Film-makers’ Co-operative between 1981 – 1984.Read More »