• WOM Selection 6 (Sun. Nov 3 – h19.00)

    On: 26 settembre 2019
    In: Senza categoria
    Views: 0

    curated by Giulia Mazzone, Giuseppe Spina, Riccardo Re

    Jean-Jacques Martinod, Ecuador | 2019 | Super 16mm | Color | Sound | 17’

    Isidro wanders through the rainforest while he and his brother recount the times he found himself face to face with death itself.

    Trailer: https://vimeo.com/311506789

    Jodie Mack, UK | 2018 | 16mm | Color | Silent | 5’ 45’’

    Featuring crystallized magic markers and the kidney stone of a horse, the generously-curated mineral collection of Mary Johnson comes to life in a manual labor of love for the process of archival procedure.

    Annalisa Donatella Quagliata, Mexico | 2018 | 16mm | b/w | Silent | 1’30’’

    Short film that captures fragments of the statue Xochipilli “The prince of flowers;” aztec god of art, dance and poetry. The statue is covered with flowers, some of them psychoactive plants. The figure seems to be in a trance; looking up to the sky, in communication with the divine.

    Colectivo Los Ingrávidos, Mexico | 2019 | HD | Color | Sound | 9’

    Mexican Colectivo Los Ingrávidos’ films break away from the entrenched viewing patterns of the dominant film and TV culture. Piramide erosionada is indeed something else: a wild, single-frame, free jazz film experience, completely removed from traditional cinematic linear storytelling. The poetic synopsis: “The piramid used to be a mountain.”

    Laurence Favre, Switzerland | 2017 | 16mm | Color | Sound | 10’50’’

    Resistance is a series of visual and sound impressions of a melting glacier. Beyond its majestic appearance sporadic elements reveal its fragility. Objects regurgitated through the melt witness the passing presence of mankind, leaving traces and scars. Never ending sounds of collapsing ice blocks under the weight of stones continuously reveal the symptoms of an evident decrease. This landscape that at first seemed motionless appears to be permanently changing. And yet in tension this magnificent and frightening body of ice and stones stands, impressive, resisting.

    Prantik Basu, India | 2018 | 2K | Color | Sound | 26’

    Until recent years, the Santhali tribe of India did not have its own written language. Their stories and myths were preserved and passed on verbally through the generations. Each narration has a different form, much like the rocks of a nearby hill that come in various hues. While a woman from the community narrates a tale about the origin of creation and how their first house was built, the village prepares for an annual ritual.

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  • WOM Selection 2 (Thu. Oct 31 – h23.00)

    On: 26 settembre 2019
    In: Senza categoria
    Views: 0

    curated by Giulia Mazzone, Giuseppe Spina, Riccardo Re

    Josh Weissbach, USA | 2017 | HD | Color | Sound | 9’

    A series of spatial limits are defined while a maker imbibes. Interdependence is inherited after a substance cannot be shook. An animal carefully guards an outlined space as a river runs backwards.

    Excerpt: https://vimeo.com/232281522

    Zachary Epcar, USA | 2018 | 16mm | Color | Sound | 8’

    A shifting in the light of the lot, where parked cars become containers for a collective estrangement.
    Excerpt: https://vimeo.com/292595768

    Ross Meckfessel, USA/Japan | 2018 | 16mm | Color | Sound | 11’

    Drones and GoPros survey the land while users roam digital forests, oceans, and lakes. Those clouds look compressed. That tree looks pixelated. A landscape film for the 21st century.
    Trailer: https://vimeo.com/288633642

    Zeno van den Broek, Netherlands | 2018 | HD | b/w | Sound | 15’44”

    Paranon revolves around the idea of juxtapositioning fundamental elements of sound and image. This process is executed by manipulating various parameters in canon structures: The canon is a counterpoint-based compositional technique that creates one or more imitations of a movement after a given duration. The custom programmed sine wave generators Zeno van den Broek uses for the sound on Paranon make it possible to manipulate parameters such interference and phase shifting with great precision. These sine waves find their visual companion in lines, grids and cubes of which parameters such as distance and rotation slowly develop. The method of the canon creates tension and unexpected, yet cherished, results between the initial element and the imitations that folow. Van den Broek is fascinated by how the interference that occurs in image and sound manipulate our senses and perception of spatiality in the flat surface of the screen in relation to the sound waves that occupy the space.
    Trailer: http://www.vimeo.com/zenovdb/paranontrailer

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  • WOM FOCUS – LUCA FERRI (Fri. Nov 1 – h21.00)

    On: 26 settembre 2019
    In: Senza categoria
    Views: 0
    in presence of the author
    Luca Ferri, Italy | 2018 | VHS | Color | 70′ | sub Eng

    Pierino Aceti is a man of fixed habits, a film lover, and is currently retired after a white-collar life.
    For one year, for exactly fifty two Thursdays, the director went to visit Mr Aceti at his house from 10.30 to 11.30 am. Every meeting revolved around one question: “what did you do this week?”.
    The rigorous organisational schedule of Pierino’s days, his relentless ability to classify and remember things and details about films and life, to fragment time in meticulous and measurable events emerge during the formal agreement.
    Trailer: https://vimeo.com/293094442

    For a whole year, every Thursday morning, I went to visit Mr Aceti at his house. As in all my previous works, strongly characterised by a stylistic and structural rigour, in Pierino I used a narrative storytelling device where the limit is a fundamental part of the film itself. Only this time private life and filming have undergone a substantial fusion: the film follows the protagonist’s life’s rhythm and the slow passing of time during the agreement made with Mr Aceti, in a timeframe that is as important as the main character.
    This film, entirely shot in VHS with an old camera that doesn’t have a battery and thus needs to remain plugged into the socket outlet in order to function, is part of my project of a “domestic trilogy”. The three works are to be completely shot in small domestic environments in three different formats. Dulcinea in 16mm, Pierino in VHS, and The House of Love in the digital format.
    The choice of the analogue shooting format for Pierino is an homage to Mr Aceti’s cinephile nature, that led him to gather a wide collection of arthouse VHS films. The film couldn’t have been shot in any other format in order to achieve a coherent fusion between shape and content.

    luca ferri (Bergamo, Italy, 1976) (bergamo, italy, 1976), self-taught, since 2011 he has been dedicating to the writing, photography and direction of films presented to italian and international festivals, such as pesaro film fest, filmmaker, indielisboa, documenta madrid, atlanta film festival, punto de vista, curta cinema, fidocs, ghent flanders, poff, vilnius short film festival and videoex and in museums and art galleries, such as spazio forma meravigli (milan), mambo (bologna), macro (rome) and schusev state museum of architecture (moscow).
    in 2013 the national film library of rome organizes a restrospetictive of his works.
    his first feature film abacuc, released in 2015, was presented at torino film festival and mar del plata festival de cine.
    the film colombi was presented at 73rd venice festival in the orizzonti section.
    in 2018 his work dulcinea is selected at 71st locarno film festival in competition in the section signs of life and his last work pierino is presented at 61st dok leipzig.

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  • WOM FOCUS – BRUNO DELGADO RAMO (Sat. Nov 2 – h19.30)

    On: 26 settembre 2019
    In: Senza categoria
    Views: 0
    in presence of the author
    Bruno Delgado Ramo, Spain | 2019 | Super 8 | Color | Silent | 40’ |  🎥 Super 8

    My room is situated in latitude 48º east, according to the measurement of Father Beccaria. It lies east and west, and, if you keep very close to the wall, forms a parallelogram of thirty-six steps round. My journey will, however, be longer than this; for I shall traverse my room up and down and across, without rule or plan. I shall even zig-zag about, following, if needs be, every possible geometrical line. I am no admirer of people who are such masters of their every step and every idea that they can say ‘To-morrow I shall make three calls, write four letters, and finish this or that work'”. (Xavier de Maistre, A Journey Round my Room, chapter IV, p. 11)

    Viaje alrededor de mi cámara is a project on the camera’s spatial possibilities and on the room as a potential cinema and light device. After Xavier de Maistre’s Voyage autour de ma chambre (1794), the film is entirely made within the room of one’s own. As if by scale magic (figurative and literally speaking) the few square metres of the room and the few millimetres of the 8mm gauge turn out to be an infinite universe (cf. Borges). In-between the endless boundaries the camera-room settles, the filmmaker, also actor and cameraman and his belongings reside. Between the camera and the walls, between the lenses and the window, between the furniture and the room, between a rock and a hard place.
    The Count Xavier de Maistre’s Voyage autour de ma chambre is a diary. The character tells first-hand his experience in a room in Torino where he has to remain 42 days. The story is divided into 42 chapters which seemingly match with the 42 days of the house arrest. In the first chapter he makes a discovery that will be the book leitmotiv. He invents, he says, a way of travelling from immobility, without getting out of his room. The story is a smart parody of the extraordinary journeys literature. For example, Maistre simply tells his astonishment of seeing beyond when he describes his desktop. In this way he sets forth on a journey into his memory and his imagination. It is a suggestive and evoking walk through his own belongings and the objects found in that room. Is not Maistre’s seeing beyond the capacity for seeing more images than those the vision gives us? We can see something beyond the image. It is a double image. One patent and another latent. How are these latent images revealed to the character? His astonishment consists in the fact that his glance is capable of revealing an underlying image. His invention is an augmented journey from stillness. The room of one’s own and the camera, both are spaces of light and shadow, depiction devices.

    Bruno Delgado Ramo (Sevilla, 1991)is a filmmaker, an art-based researcher and an architect, whose practice mainly deals with moving image. He works at the collective processes and spatial conditions which cinematographic language and apparatus activate. He usually draws up his work as practice-based researches. This has led to films, book editions and spatial proposals. https://brunodelgadoramo.com

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  • WOM Selection 4 (Fri. Nov 1 – h16.30)

    On: 26 settembre 2019
    In: Senza categoria
    Views: 0

    curated by Giulia Mazzone, Giuseppe Spina, Riccardo Re

    Dan Browne, Canada | 2018 | 4K | Color | Silent | 2’

    website: http://www.danbrowne.ca/

    Simon Liu, Hong Kong/USA/UK | 2019 | HD | Color | Sound | 13’

    A film sixteen thousand splices in the making. E-Ticket is a frantic (re)cataloguing of a personal archive and an opportunity for rebirth to forgotten images. 35mm photo negatives and moving pictures (taken during the artist’s formative years) are obsessively cut apart, reshuffled then tape spliced together inch by inch in rigid increments. Fragmented views swipe between a school trip to India then culminate with a protest of a 2005 World Trade Organization summit in Hong Kong. My photographs may have all be cut up and mixed around, but at least they’re all in one place now. A retelling of Dante’s Inferno for the streaming age; a freedom of movement reserved for the modern cloud.

    Richard Tuohy and Dianna Barrie, Taiwan/Australia | 2018 | 16mm | Color | Sound | 14’ | 🎥 16mm

    Hong Kong marked 20 years since its hand over; half way through the planned 40 year ‘one country, two systems’ transition. Taiwan, once imperial China, once Formosa, now ROC on the edge of the PRC. Multiple exposures of street scenes distort space and place creating a fluid sense of impermanence and transition, of two states somewhere between China and not China.


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