Wednesday MAY 14, 2014 — 7:30PM
6th Festival Screening — BODY HOT – TRT: 58 min
ASTRONOMY DOMINE; Ellen Sylvarnes; digi; TRT: 2.18
A golden orb with soundtrack including supersonic solar winds encountering the magnetic force of Jupiter. Premiered: UNIVERSITY OF EDINBURGH SONIC ART FESTIVAL
heartbeat; Ursula Sommer; Audio recording and mixing by Neil Holyoak; USA; digi; TRT: 5.00
Modified the speed of my heartbeat by slowing down and quickening my breath.
UPBEAT NOTHING-NESS; Leila Jarman; USA/Germany; digi; TRT: 3:14
MadAsHell is a collaboration between Leila Jarman & Mike Leisz.; Shot in Berlin, Germany in June 2013; Choreographed and produced by Sandhya Daemgen
Five people are stuck moving in the same routine until they are overcome by their true sense of self in the form of color and movement.
CINAMNESIA; Nicola Walkerden; Australia; Performance: Tanja Bruckner, Nicola Walkerden; Camera: Tanja Bruckner, Nicola Walkerden; Production Assistant & Cave Drawing:Jonathan McBurnie; 16mm to digi; TRT: 5.09
CINAMNESIA draws links between the twenty-four vertebrae in the human spine and the twenty-four frames per second in 16mm film whilst exploring the effects of film on the nervous system.
A combination of performance and documentary on black and white 16mm film misplace experiences of time and movement. There is an examination of the spine and the materiality of film from both scientific and surrealist perspectives. It examines the process of watching film and the nature of recording, questioning how present an experience it is.
Cinematic illusion is questioned through the portrayal of anaesthesia as an induced experiential state similar to that of choosing to sit in a cinema. Illusion is also referenced by the cave as a primal root of cinema, hand-drawn as if to be a reminder of how histories are recorded through movement, distorted by perceptions. Structurally the film is considered as a backbone holding images being re-recorded by the audience every time it’s played.
I SNAKE-FOOT; Lili White; digi; TRT: 5.18
I remembered the Egyptians have a letter that combines a snake and foot.
In Nature, a performance meditation on a real-life event of an “S” found on my toe.
ISTEN BÁRÁNYA| / AGNUS DEI; Reka Szucs; Hungary; 8MM & SUPER 8 to digi; TRT: 10:36
Choreography: Bordás Emil, Szűcs Dóra Ida, Molnár Csaba, Vass Imre, Ladjánszki Márta (based on Marta Ladjánszki’s piece entitled ’a mi madre’);
Inspiration, text: Muzsikás Együttes: Altató, Cseh Tamás – Cserhalmi György: Jöv el Uram, Jézus, Ladjánszki Márta: a mi madre, Lázár Ervin: Napló);
Photography: Szabó Gábor H.S.C.
Edited by: Kovács András E. ; Music: Bernáth Atom Tamás
Producer: Helyei Kristóf, Holczer Mik lós, Szűcs Réka
Cast: Bordás Emil, Szűcs Dóra Ida, Molnár Csaba, Vass Imre, Ladjánszki Márta
Assistant director: Holczer Mik lós, Szűcs Dóra ida
Production manager: Márkus Áron; Technical manager: Márkus Áron
Produced by: ©Értékmegőrző /SAFE Studio 2013thanks to: Gábor Kasza
‘Those who move away from God get closer to him as well, only they have taken the longer way’ – Ervin LázárAn experimental dance film – concept work in three movements.
INVERSION; Linda Fenstermaker; 16mm to digi; TRT: 13.00
A blending of perspectives layered around the camera, INVERSION creates an open space to expand female consciousness, as an embodiment of the film itself. Through this exploration of (her)self and the landscape of the body, the viewer is invited to reflect upon one’s own bodies and gazes, engaging in new dialogs between filmmaker, subject and viewer through the reflection of the camera.
HERE’s a re-screening of this piece:
VED’MA; Cornelia Eichhorn; FRANCE; Cast: Mélodie Etxeandia, Elodie Grech, Louise Kalfo, Marion Maugein, Irène Ranson, Leïla Richou, Catherine Zimmermann, Roxane Lebrun; Director of Photography: Etienne Saldes; Sound: Thibault Petolat; Editing: Raphaël Andrieu; Music: endemic project; Soundscape: Agathe Courtin; Assistant director: Mathilde Marc; Production Design: Stéphane Chapus, Marie Cuvillier, Griet Devis, Alice Jacob-Garnier; TRT: 14 minutes
VED’MA is an ancient Russian word, which meant, witch in old Russian, today it means old mare. This title remains ambiguous between fascination and rejection, as are the characters of the film. VED’MA uses three-screens to tell the stories of three women simultaneously intertwined. They could be the same woman at three different stages of her life, sisters or three generations. The stories are perverted modern-fairy-tale stereotypes of women without a happy-ending questioning identity, generation and motherhood.
These metaphor question relationships: Who influences whom? Who depends on whom? How do we perceive the other? Who manipulates whom? Who guides us, who serves us as a role model, as an ideal? It’s an eternal quest, which is perpetrated from one generation to the other.
For Sally; Lili White; digi; TRT. 2.37
Real time, real life: A green balloon blown in from the sea has a way of changing things.