Grazie al team e ai membri della giuria – tra cui Paola Bristot!
Pubblichiamo uno speciale su Joseph Bernard, una selezione di 10 film realizzati tra il 1977 e il 1985, corredato da un saggio di Phil Coldiron (2015) e da un’intervista di Jeanette Strezinski (2004), in versione originale e nella traduzione italiana.
A cura di Riccardo Re e Giuseppe Spina
Luminous Variations in the City Skies by Giuseppe Spina,
will be shown at 15° MONTREAL UNDERGROUND FILM FESTIVAL, Canada, in the program titled “SATNAV”.
Program online August 25 – September 30
Livestream premiere, August 24 at 7.00 pm PDT (in Italy at 4.00 am).
program 4 • all those things you used to feel
Program opens with a series of quietly lyrical and observational works: reveries of landscape, the celestial heavens and the body; mediumistic studies of corporeal time and of eternity. These slowly give way explorations of the electronic ether and the mediation of subjectivity. Not without humor, these oblique conundra present uncanny intermediated non-places in which intimacy becomes increasingly alien and where buildings and other mysterious objects assert themselves.
SCREENING: Westinghouse One (2019) by Kevin Jerome Everson (livestream only); mockingbird (2020) by Kevin Jerome Everson (livestream only); Die Nacht (2017-2019) by Wenhua Shi; liminal poem (2019) by Susan DeLeo; Luminous Variations in the City Skies (2019) by Giuseppe Spina; Sympathetic Bodies (2018) by Margaret Rorison; Traces (2020) by Carleen Maur; where i don’t meet you (2019) by Charlotte Clermont; Plants Are Like People (2018) by Charlotte Clermont; Story of the Dreaming Water, Chapter One (2018) by Brittany Gravely; The Tower (2019) by Silvestar Kolbas; Interbeing (2018) by Martina Hoogland Ivanow; My Favorite Object (2019) by Meredith Moore
CROSSROADS 2020 / San Francisco Cinematheque
85 works of film and video by 71 artists representing 22 countries and territories presented in 9 curated programs.
«If one were only an Indian, instantly alert, and on a racing horse, leaning against the wind, kept on quivering jerkily over the quivering ground, until one shed one’s spurs, for there needed no spurs, threw away the reins, for there needed no reins, and hardly saw that the land before one was smoothly shorn heath when horse’s neck and head would be already gone». (Franz Kafka, “The Wish to be a Red Indian”, Meditations, 1904-1912)NOMADICA presents
Jeroen Van Der Stock, Belgium | 2019 | HD | Sound | 19’
A horse in different shapes, obscurity, digital artefacts and an electroacoustic soundscape are the main travelers on an abstract journey through the night. –A short film entirely based on footage from unsecured live surveillance cameras–
Allan Brown, Canada | 2017 | Super8 | Sound | 13’
Trotters come round the bend with Immanuel Velikovsky as race caller. Why can’t we believe in “if” anymore. “the audio interference that he (Brown) whips up and cycles has the effect of sounding like a brewing storm. The stuttering images of horse-drawn chariots again evoke a coming apocalypse. Is Brown wishing for the end of the world, or for aesthetic gale winds that can bring order to chaos?” (Greg deCuir, curator/programmer)
Allan Brown, Canada | 2018 | Super8 + HD | Sound | 13’
Accented by collaged radio audio fog of alien invasion paranoia, oneiric images from Serbia fuse with the Canadian Shield of northern Quebec. Dreamland is a conjuring of spectres through hypnotic frequencies; a journey through alien landscapes and brutalist dreams.
The Glass Note
Mary Helena Clark, US | 2018 | HD | Sound | 9’
In The Glass Note, a collage of sound, image, and text explore cinema’s inherent ventriloquism. Across surface and form, the video reflects on voice, embodiment, and fetish through the commingling of sound and image.
D’étranges vues et de joyeux vestiges
Guillaume Mazloum, France | 2018 | 16mm | Silent | 12’
Accumulation of worried images, which were meticulously manipulated. Those strange views are accompanied by joyful vestiges, some words gleaned from renowned or dark poets, sometimes even from the enraged walls of the city. Those proud gleams, those removable faces, those moving bodies, become the elements of a research about vision and gaze, the protagonists of a nascent dialog, the traces of times and places that we still have to observe.