Fragments From the Garden of Dreams — watch free video of Question & Answer session with FILMMAKER Sasha Waters Freyer – AXW Film Festival 9/30/2015 – TRT: 40:00
- REVERIES; Karissa Hahn
USA; 3.33; B & W Super 8 MM to digi
Charlotte Pryce is teaching by candlelight. I’m picking at my thumb under the table. She’s speaking with thumbs unpicked: “We don’t see an object, we see the effluence of that object. We see a light lingering in our eye because it works faster than our brain. This implies that we may invent what we see.” She’s now telling of Aristotle, of how he believed; The organs – not just the eye – retains the image. The sensations are retained and return to haunt the sleep. “Bodies are vessels that take in images. Can we not see ghosts because our eye lags perception and we miss it? Are ghosts a perception of speed?” … I’m picking my thumb to the bone over this.
- GARDEN OF STONE; Sasha Waters Freyer
USA/ITALY; 4.15; digi
A kaleidoscope of sights and sounds from Noto, Sicily, known as the Garden of Stone in honor of its baroque architecture (none of which you will see in this 4 minute film). A love letter to Peter Greenaway. in three rhythmic intervals.
- YOU CAN SEE THE SUN IN LATE DECEMBER; Sasha Waters Freyer
USA; 6.40; digi
Beautiful emptiness, anguish and calm, absence rendered visible and traces of presence in the winter light, all intensified by the damned (non) question of maternity. Filming every frigid day in the final month as a strategy for overcoming deflated motivation.
- DREAM OF A DISTANT LAND; Muriel Montini
FRANCE; 10.00; digi
Fragments of a film, fragments of a summer.
- ISLAND STORY; Alisa Berger
GERMANY; 6.18; 8mm & Super 8 to digi
A grainy vintage-like feel permeates the alien world and mixes in with the mixtures with the assumed real world. –Jaqueline Valencia
Blindingly and like a Martian horizon, the sun plays with the viewer’s stability. A narrator gives the account of a strange tale of a couple on a transformative journey into a world of paradise with no language. Animalistic gesticulations and instinctive expression emanate from the body until both of them grow apart and then into other versions of themselves, never to be the same again.
- FRENCH WORDS; Heather Brown
USA; 2.45; 8mm & Super 8 to digi
Super 8 film footage conjures up a sequence of frustrating attempts that are absurd. An orange is mutilated in a struggle with tools that do not seem to “work.” What is trying to be accomplished with the fruit is not clear, and neither are the words of a voicemail heard in French. The absent subtitles and translation is important to the piece in order to convey an absurd interaction and the inability to relate through language alone. The film ends with the song, “Roller Girl”, performed by Anna Karina in 1967. Her personal life is publicly documented: “Karina and Godard married on 3 March 1961, during the shooting of A WOMAN IS A WOMAN, and divorced in 1965. Their relationship is said to have been rocky for most of its course, with Anna left emotionally unstimulated by Godard’s obsession with work. By 1967, they were barely on speaking terms.” The film was originally inspired by a short, RILKE ELEGIES, created by Audra Brandt. Kat Palardy, actress/performer, was asked to create and improvise a 2 minute monologue. Without direc- tion, she fabricated a recording of a voicemail message, later ttranslated and performed by Soline Pillet.
- ASSUMPTIONS OF YOUR PHANTOMsy; Karissa Hahn
USA; 1.53; Super 8 to digi
The glorious nature of a phantom-like entity, in the midst of vulnerability.
- MOONBOW THIEF; Sara Bonaventura
Sound: field recordings: Dolomites Carnival, Balinesian Barong and Kali dance.
The question of language and its limits is at stake. The overall carnivalesque tones are seeds for a new polyphonic text (in the sense Mikhail Bakhtin intended it). The death of a speech could be the birth of a language: ero muto tumore (I was a dumb tumor). It is not the thief’s voice. It is an “essential palindrome” (Agamben Giorgio, Il cinema di Guy Debord).
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