Experimental

A conceptual pinku film which is conceived of 60 shots which all are 60 seconds long and represent an absurdist take on the narrative and stylistic schemes of erotic cinema.Read More »

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In 1975 Nina Shivdasani Rovshen (aka Nina Sugati SR), made Chhatrabhang – the first Indian film to win the International Fipresci critics award. This 80 min 35mm colour film was shot by AK Bir over a period of 2 weeks, and edited over 1 year by the filmmaker herself. The film was made within Rs 2 lakhs and has rarely been screened in India. Based on a true story, Chhatrabhang explores caste dynamics in a drought stricken village in rural India. This complex film transforms a 3 line news report into a lyrical feature film about the trauma of dilemma, and the processes involved in resolve, change and reform.Read More »

On retrouve dans ce film le va-et-vient entre l’intime et le monde, entre le vrai et le faux dans ces passionnants Nuages américains, journal de Morder qui couvre la période de l’été 1982 au 1er janvier 1983. Le film se divise en deux parties : la première retrace son voyage aux Etats-Unis où le cinéaste est censé retrouver un ami avec qui il va rompre et une seconde, française, où il évoque une rencontre avec un autre garçon.Read More »

PLOT: Nicolas Klotz and Elisabeth Perceval’s works break down the boundaries between countries, languages and genres. Their new film mixes documentary, acting, dance and song to counteract a “politics of tracking” and advocate a radical change of approach. From the story, of a Brazzaville slave who must follow his master into death, to that of a Senegalese exile who finds himself reincarnated in Barcelona, to the trance of the Bela Vista carnival. When the House Burns Down is a visual poem that celebrates the collective dimension of life.Read More »

I diari di Angela – Noi due cineasti. Capitolo secondo recounts in the first place our private lives, revealing what we went through while the movies we were making–on the violence of war, on colonialism and fascism—took shape. The film draws on the writings of soldiers, the wounded and prisoners of war. The passages describe some of the battle sites and the boundaries of the Austro-Hungarian Empire, and show us the face and the acute gaze of Freya Stark at Asolo, as well as reminding us of the unmistakable voice of Walter Chiari in Soviet Armenia. In those years at the same time as the Trilogia della guerra we were working on a large installation called La marcia dell’uomo. Read More »

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“By editing in the camera every subject matter finds a cinematic form and rhythm of its own. Transforming fragments of real life experience in a specific moment and place, every individual film is complete in itself and reflects the process of its creation. Programming my short films in new configurations is a very important part of my artistic practice, in accord with the way the films are created. As within each individual film, time is structured and rhythms are created within each composed series of films. One could characterize each program as one possible temporary ‘montage’, exemplifying essential aspects of the whole body of work. The interplay of different films evokes all kinds of correspondences and contrasts as it evokes an intense filmic cosmos in which one can easily loose the normal notion of time and space.” (Helga Fanderl)Read More »

In this experimental film, Isidore Isou, the leader of the lettrist movement, lashes out at conventional cinema and offers a revolutionary form of movie-making: through scratching and bleaching the film, through desynchronizing the soundtrack and the visual track, through deconstructing the story, he aims to renew the seventh art the same way he tried to revolutionize the literary world.Read More »

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Every day of her life, Angela kept a diary, filled with words and drawings, in which she recorded public and private matters, meetings, things she had read, everything. Including the account of two trips to Russia (1989-90). The period of the collapse of the USSR. A diary that she had been keeping in small Chinese notebooks, since before Dal Polo all’Equatore (1986), on our uninterrupted work on the violence of the 20th century. From our tours in the United States with the “scented films” of the late seventies to the Anthology Film Archive of New York and the Berkeley Pacific Film Archive… Now I reread these diaries and see again the film-diary of all those years. I am alone now, after many years of life and artistic work together.Read More »

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Described as one of the first acid-causalities in history, David Larcher’s Mare’s Tail is an epic 160-minute journey into the iconoclast’s mind, where connections between images defy logic but construct a languages of their own. Larcher once described the film as, “a photographer’s home movie put through a washing machine,” which I suppose only adds more confusion to the already complex presentation of abstract images. The film is a ride into Larcher’s subconscious, or more accurately, Larcher’s attempt at re-presenting the cacophony of imagery and sounds from his brain into some sort of coherence; we quickly figure that narrative is the least of the director’s interests. Read More »