Dreaming In The Dark

Charting the beginnings of the time, through the descent of man, on to an uncertain future - all shot throughout the seasons in the garden of S, who lives in the wilderness and builds contraptions.

A collection of films from an eclectic array of contributors commissioned to raise funds for the Bristol independent cinema The Cube.

“A meditation on the illusion of filmmaking, shot behind the scenes on a film being made on the otherworldly beaches of Sidi Ifni, Morocco. The film depicts strange activities, with no commentary or dialogue; it appears as a fragment of film, dug up in a distant future—a hazy, black-and-white hallucinogenic world.”—Ben Rivers

A film by Ben Rivers

A hand-processed portrait of Jake Williams – who lives alone within miles of forest in Aberdeenshire, Scotland. Jake always has many jobs on at any one time, rarely throws anything away, is an expert mandolin player, and has compost heaps going back many years. He has a different sense of time to most people in the 21st Century, which is explicitly expressed in his idea for creating hedges by putting up bird feeders.

A film by Ben Rivers

This new work is developed from footage collected during a trip to the remote and beautiful sub-tropical island of Vanuatu in the South Pacific. In March 2015, after Rivers’ visit, Vanuatu was devastated by Cyclone Pam, laying waste large parts of the islands. River’s 16mm lm material has become a record of a place that has irrevocably changed. Filmed on 16mm and then digitised, island imagery of active volcanoes, underwater WW2 debris, children playing, and wrecked boats transform into intangible digital recollections of the island. Images of the eroded land merge with eroding lm and deteriorate until they are no longer recognisable.

Set in a deserted, silent at, laden with mementoes and artefacts belonging to a now departed inhabitant. The film pieces together an elusive biography of a traveller to far flung destinations. There is a heavy stillness in the deserted space, the inhabitants faded memories are retraced by Rivers, but remain inescapably unresolved; narratives flicker and then disperse in succession; the immateriality of life is reflected in the material left behind.

A portrait of Astika, who lives on an island in Denmark. He has lived in a run down farm house for 15 years and his project has been to let the land around him grow unchecked, but now he has been forced to move out by people who prefer more pristine neighbours.

Bogancloch will continue the ongoing project between the flmmaker and Jake Williams, a man who has lived in the middle of Clashindaroch Forest for the past four decades. The flm will fall somewhere between fction and documentary, showing quotidian aspects of his life, alongside constructed episodes of a more fctional and even dream-like nature, with other characters showing up, such as a singing group of ramblers. It will begin in a classroom, with Jake teaching a cosmic looking science experiment, and end moving out into the cosmos. Along the way there will be fre, snow, rain, roadkill and other unexpected things, flmed on b/w 16mm and 35mm flm, hand-processed. This technical aspect fts with Jake’s environment, being physical, open to accident and chance, and dirt.

"I represented light and life coming out of the darkness. I aimed for the fusion of multiple exposure and animation."

New installation mixed in noise and abstract

Makino wraps footage of trees with a gauzy, summer drenched haze. Visually and aurally it’s a very impressionistic experience.

Makino Takashi collaboration with LeBon.

Experimental film by Takashi Makino.

The four elements referred to as "water", "flame", "wind" and "earth" in this film all exist individually while responding to each other, by fighting and loving each other, foster the concept of a world in each individual's "subjectivity"

first foray into found-footage filmmaking where human shadows emerge from the dust and scratches accumulated on the filmstrip

Emaki is a Japanese traditional narrative form in picture and text created from 11th to 16th century. The film is collaboration work between filmmaker Makino Takashi and painter and filmmaker Ishida Takashi. Ishida has been interested in live-picture, the process of paint, and Makino’s interest is to make a new image with extremely high speed random images. With Makino’s skills in telecine, Ishida’s painted lines were rolled and scrolled, and became “the living line”. The film is maybe a chance, or maybe it is a fight. Perhaps, this film will show you both elements. (www.lightcone.org)

Filmed entirely on location in Australia, Double Phase follows a discrete visual chronology captured by Takashi Makino. It considers how the complexity of ’natural world’ continues to be reductively framed within contemporary society. Pushing back against the simplistic and monocular sensing of the world, Makino responds with an intensely affective projection of lived experience. Moving far beyond the capacity of lived day to day experience, the film collides image after image into a cascade of almost-cosmic complexity. A reminder that we must always be reaching out and extending ourselves into the world that emerges before us. (Asia TOPA 2020)

Experimental film by Takashi Makino

Paulina Buda is my godchild, and I have filmed her since she was very young. Paulina is now 15 years old. Franz von Lucke is my godchild, and I have filmed him since he was very young. Franz is now 26 years old. Maria Lang is my very close filmmaker friend who lives in the southern german countryside. We see her gardening and visiting an exhibition of female impressionist painters.

A triptych of three short silent films. A Walk through the winter of Engadin and Bergell, scenes in the park of the Rietberg Museum in Zurich with its collection of Asian, African and Indian art, and an ice-skater on a sunny day in Zuoz, a village in the Engadin.

Jón in Akureyri is the second part of Detel + Jón. I filmed Jón Sigrurgeiersson walking through the streets of his childhood, meeting his filmmaker brother and telling childhood stories.

A film about my friend Maria Lang. The light falls on a few details, chance selections, out of which a place is composed, the place where Maria lives with her mother. A landscape, a village, a kitchen, 25 her room.

A film structured around Detel Aurand and Jon Sigurgeiersson.

A portrait of the filmmakers Bärbel Freund and Karl Heil like a song in its changing verses, the locations were chosen according to mood and season: in spring, in snow, in Venice, in the flat, alone and together.

"Toying with string" is painting transformed into film. Color, threads, stones, various natural elements give birth to images constantly changing in form. This metamorphosis is made visible – we see one thing arising from another and giving birth to something new. “Toying with string is by two sisters, one is a painter, the other a filmmaker. A new quality develops from the knowledge each one brings. The film is lively and leaves a free and happy feeling”

The two 11year old friends, Franz and Pablo, run with angel-wings, stand under giant leaves and improvise on their trompet and piano.

"Franz von Lucke is my godchild, and I have filmed him since he was very young. Franz is now 26 years old." U.A.

We hear the actor Alexander Moissi reading the fairy tale by Hans Christian Anderson (recorded in 1927), while seeing the face of a young woman standing outdoors against a distant hilly summer landscape.

How can I lie that I’m asleep and be faster than my body? - “But it wasn’t so violent, was it?” She stayed in bed repeating that she was sleepy for 40 minutes.“I’ve wanted it to be almost like a mantra and to generate tension.” The embroidery draw maps the relation between a mother and a daughter. Time past and time present if all time is eternally present all time is unredeemable. “It was a school exercise, I would use what was close to me, what was domestic and you were part of it” Fourteen years have past. I take her images; I compel her to answer me. She is the mother. She is the daughter. She is my mother.

A woman finds herself, not sure how, in Beirut’s Hall of Fame after closing hours. Like Molly Bloom, and the more virtuous Penelope, this woman waits for her husband. She appears to have set a date with him. But he has not arrived. While she waits for her husband she interacts with the figures/statues in the Hall of Fame. She cleans the dust from their eyes, straightens out the baseball cap of another, she smooths out the cape of a third figure. She works so that they appear cleaner and better arranged. However, while she waits Hanan only makes an effort to improve the appearances of the figures that represent regional and world political leaders who are responsible for the chaos that ravages the Middle East. Despite Hanan’s effort, it will difficult for them to appear ‘clean.’

Capitalocene. From above, the abstract monumentality of the Niger Delta (Nigeria), redefined by human ambition into environmental catastrophe. Existential fable. Another no-man’s-land, where the blackness or the psychopathology of (Frantz) Fanon’s colonization (and other African philosophers) seems now like an empty sound, and scholar debates, that understand neocolonialism, echo distant and misfit. In the war for oil, we find the resentment of a region forgotten and cursed by its resources.

Three unusual paintings played by the director that literally tests her limits in this encounters with the landscape of São Miguel, in Azores. The power that emanates from the filmed landscape is as seductive as the risky shape of the encounter between image and sound. A limit-film for an inventive Portuguese artist.

The panoramic shots are breathtaking: a majestic mountain landscape in winter, flat-roofed tin shacks cowering next to one other, women perched on steep slopes using primitive tools to break through pieces of rock. La Rinconada is situated over 5,000 meters high in the Peruvian Andes, on the edge of a gold mine. This 21st century El Dorado is an inhospitable place, where untold numbers of people live and work in the most precarious of conditions, hoping both for gold and a better life. Salomé Lamas has constructed a cinematic diptych to convey the extremity of this situation and the dimensions of its misery without having to resort to graphic images.

Composed by eleven short-movies. Started in 2018, the project explore in a sensible and creative way the position of humankind and nature. The key stories illustrated by the eleven internationally recognized filmmakers reflect the intertwined relations between human society and natural environment that are aggravated by climate change on multiple dimensions and scales, hinting at possible solutions.

‘None of the people who were asked about me had seen me.’ Le Boudin documents the encounter of the young Elias Geißler with the testimony of Nuno Fialho who at the age of 16 was forced to enlist in the French Foreign Legion. ‘I didn’t enlist. They enlisted me.’

A man, Francisco, works in an open-pit mine. He goes to see his boss about taking the following day off. At first the boss doesn’t want to allow it as there is so much to do, but he finally concedes. The next day his daughter calls on him, a visit he no longer counted on. They spend the day with one another. The longer they are together, and the later the night gets, the more absurd the situations and moments they experience become.

A Comunidade is a short documentary focused on CCL, the oldest camping park in Portugal.

Ubi Sunt. Porto. Cartography of an imaginary place attracted by the margins (social and geographical) Hybrid and eclectic project, it is the outcome of a audiovisual research residency of humam and urban exploration of an expanding city. Ubi sunt qui ante nos fuerunt?, meaning "Where are those who were before us?". Reflective essay on mortality and life's transience, it emerges from that dialectic, of a and episodic and fragmented structure with a choreographed cinematography; where the memory intersects the contemporary.

A postcard, Saint-Ouen flea markets.

It is said that in the year of 1492, the first European ship led by Christopher Columbus, disembarked on the coast of Samaná, present-day Dominican Republic, and was received by a rain of arrows carefully plotted by the Caribbean Taíno. Presently, a saline lake named after the Taíno chief Enriquillo witnesses profound eco-systemic changes leading to species migration, forced evacuation and an expanding choral desert revealing the lake’s geologic past. Taking the camera itself as an arrow, a foreign body, Amérika: Bay of Arrows looks for ways in which to animate, to awaken, to make vibrate again this gesture in the present - arrows against a perpetual “falling sky”.

A voyage into the far west of Brazil leads us to a monumental structure - petrified at the centre of the savannah. Inspired by the epic construction of the city of Brasília, the film uses this history to imagine it otherwise. "I look at Brasília the way I look at Rome : Brasília began with a final simplification of ruins". Through the geological traces that lead us to this fictive monument, the film unearths a history of exploration, prophecy and myth.

"Há terra! is an encounter, a hunt, a diachronic tale of looking and becoming. As in a game, as in a chase, the film errs between character and land, land and character, predator and prey."

Pseudosphinx is the scientific name of the fire-caterpillars soon to become butterfies, or as they're commonly (and auspiciously) called: witches. These butterfy-witches are associated with several myths. Pseudosphinx is at the same time sphinx, meaning inhuman chtonic monstrosity that spells charades; and pseudo, as in artificial, insincere, deceptive, unreal, illusive, mimetic. Pseudosphynx keeps its meaning veiled, like a secret kept by those who save in their retinas the haptic impression of its fight. [Punto de Vista]

Made for Somewhere From Here to Heaven, exhibition at Askuna Zentroa, Bilbao.

Apiyemiyekî? [Why?] addresses the genocide of the Waimiri-Atroari people in 1970s, when during the Brazilian dictatorship indigenous lands in the mid-west were invaded for the construction of the national road BR-174 and the installation of a mining company. Illustrations about the period, created by the indigenous population reveal a traumatic history, referring us to the present day.

Shot entirely on day for night, this wildlife eco-horror follows the trajectories of endangered species fleeing to escape extinction, in a sombre plot in which the animals look back at us.

Fields of newborn flowers, small gatherings of surviving bees, resistant plant species and new types of eggs lay upon our shore, engaging us to dig and search for the meaning of such unexpected life...

A meditation and a reverie upon a city at once real and imagined. Conceptualized as a documentary on the ZUP buildings in France, the film has instead found form as poetic & expansive confrontation with the psychogeography of a contemporary Europe in crisis. A requiem for a city dreamt between its past and present.

A portrait of Nancy Golden, a summer evening and Nancy photographing rocks at Singing Beach. 16mm,18fps / Super 8mm, 18fps

LIGHT LICKS are a series of films, which are made frame by frame often by flooding the camera with enough light to spill beyond the gate into the frame left unexposed. LIGHT LICKS are ecstatic flicker films inspired by jazz and mystic visionary practice.

LIGHT LICKS are a series of films, which are made frame by frame often by flooding the camera with enough light to spill beyond the gate into the frame left unexposed. LIGHT LICKS are ecstatic flicker films inspired by jazz and mystic visionary practice.

The first black and white LIGHT LICK. S8mm, b&w/si, (18fps)

A portrait of a mother with her arms full in the backyard bathing her twin babies as the early spring light sings and dances. Later the father cooks a fish. Marjorie Keller is the mother.

A small apocalypse prophecy on the threshold of disaster world/home

Moon flight loud silence soft dark hard light a Ray o gram made with a camera out of sight

Directed by Saul Levine.

NOTE TO POLI is, in the words of his student and fellow experimental filmmaker Marjorie Keller, "a note to the filmmaker Poli Marichal 'about' penetration." P. Adams Sitney observed that the film revealed "the visionary power of sexuality for the filmmaker" and it is indeed one of his most sexually visceral. Levine contrasts the startling frankness of the sexual activity that opens the film with the calm of a young person at rest with a cup of coffee and the serenity of post-coital cigarette smoke hanging in the air.

"We have a named for fantasy realized: nightmare". Adapted from Leopold Von Sacher-Masoch's "Venus in furs".

A girl wanders like a flaneur in the center of Athens: a Constitution, a War Museum, a Town Hall. She wears sunglasses and black clothes. "Kills" a boy outside the Galaxy bar and describes, sitting on the balcony of an apartment in Exarchia, the way the Molotov bomb is operating - it is an incendiary and not an explosive mechanism, he says.

Setting up as the prequel of two existing films of similar name, Belle de jour by Luis Buñuel, and Belle toujours by Manoel de Oliveira, the film is about the new story of Severine, the main character, with Paris as background. Two artists' ideas to recompose the original films make the beautiful and unique world in this movie. - 25 FPS

Based on Des Esseintes' literary black feast in A Rebours (1884) by Joris-Karl Huysmans.

Adaptation of Honoré de Balzac's "The Skin of Sorrow" or "The Wild Ass's Skin" (1831), said to be the last novel read by Sigmund Freud before his death. While reading it, he would have said: "This is the only book I needed".

Rómulo's quiet routine in Rio de Janeiro changes overnight when an accident starts a wave of absurd events. Far from there, Orlando, his twin brother and rare works dealer tries to buy the book of a Brazilian student with financial problems. The twins' lives will be on a collision course with the arrival of a mysterious manuscript.

Dani's heart grows erect, and comes.

António runs away from home and tries to spend the night at his ex-girlfriend's apartment. There he finds a brazilian girl, an unexpected guest. Johnny is struggling to stage his first theater play in Lisbon. His friendship with the young light technician will make him face his real problems. Débora is passing by, finally returning home. When she goes to the theater, she falls asleep, and is awaken by the protagonist. Three dimensions of the same story.

Snow is water. Water is water.

In the year 74 BC, Titus Lucretius Carus, a young man with bold ideas, tries to convince his friend Memio that moving to the city of Rome to study is a total waste of time. Years later, Lucretius returns from the capital. Trying to find a balance between his explanations of the natural world and his emotional experience of it, Lucretius lives a deep and troubled passion with his foreign wife Isa.

Vando (aka Vedita) is not seen for a long time in the streets of Barra.

In Fortaleza, Brazil, loving, drinking and singing. The return home, braving stray dogs. And taking photos, up to the moment the plastic camera bought in 2013 gives up the ghost.

A young man sits on a busy street in Lisbon to draw the people passing by. Not too distant, a couple talks about the origin of a wallet found months earlier. The light of one moment is reflected on the other.

I really admire this capacity, Mauro. Of turning into something else. Like a dinosaur or a memory.

“Using footage from Cocteau’s Orphée, Clark optically prints an interstitial space where the ghosts of cinema lurk beyond and within the frames.” – Andrea Picard

A spy film, built on the bad geometry of point-of-view shots.

A walk through the proscenium wings. You close your eyes and suddenly it is dark.

“Henry James had his figure in the carpet, Da Vinci found faces on the wall. Within this Baltimore wallpaper: a floral forest of hidden depth and concealment, the hues and fragrance of another era. Surface decoration holds permeable planes, inner passages. There emerges a hypnotic empyrean flower, a solar fossil a speaking anemone, of paper, of human muscle, of unknown origin, delivering an unreasonable message of rare tranquility.” – Mark McElhatten

An impressionist sea ponders the movements of creatures, seeing them in its dreams like dots swimming on its surface, carried along by the waves that slow the immense motion of its waters.

Scraps of text gathered from molding filmstrips and peeling chalkboards are photographed and intercut with pinhole shots from a schoolhouse.

Pivoting between two stories of women and their relationships with objects—a Swedish woman’s marriage to the Berlin Wall, and a suffragette’s hatcheting of Velásquez’s The Toilet of Venus—Mary Helena Clark’s Exhibition is a maze-like tour through images and artifacts, a dense cryptography of the forms and objects that hold us in.

An interconnected look at tradition, colonialism, property, faith, and science, as seen through labor practices that link an endangered salamander, mass-produced apples, and the evolving fields of genomics and machine learning.

Experimental short about a man and some trees.

In this elliptical audiovisual diary, cinema’s extrasensory capacity is given surprising form. Here, what we see (the human throat, Gothic statuary, digitally generated furniture) often contradicts what we hear (birdsong, tightly wound rope, lithophonic stones), but the combined effect speaks to a utopian and universal ideal of filmic language.

Moving and mysterious, Joana Pimenta’s An Aviation Field juxtaposes the natural and the manmade as it links the great utopian modernist project of Brasilia to the volcanic crater in Fogo, Cape Verde, and offers speculative futures for a troubling past.

The rapid turning of a light draws a circle. In the space bound by its line unravels an archive of postcards sent between the island of Madeira and the former Portuguese colony of Mozambique. The figures carved into the Knife by the Sap of the Banana Trees circulates between a fictional colonial memory, and science-fiction.

One sunny afternoon in the middle west, suspended in a time between, two commuters daydream of a life lived otherwise. Adapted from a letter written by Victor Berger in 1895.

Two slow pans across a public park in Milwaukee. Words from Bernadette Mayer imagining the possibility of a perfect summer day.

A feeling of forgetting rendered with first-person camera work, lens play, and image stabilization. I am old where I was born. It must have been magnificent once. The way it appears now is not how it used to be. It couldn’t be, otherwise this would be something else. Perhaps for a moment I am there again, but when I open my eyes I can’t remember anything. There is only this longing for someplace I've never been.

Wandering through the body puzzling out a system of symbols. The trouble is, affect resists signification outright. The inside and outside become muddled when you start to feel your body in relation to the image.

An affective portrait of place. An exploration of the city as abstraction.

Filmed on the former grounds of Black Mountain College, LOOKING BACKWARD is a brief elegy to the legacy of a utopian college and other impossible projects.

Wandering through the city, wondering about the potentialities of space, wishing and wanting a full experience of the virtual. These thoughts are rooted to spaces on the outskirts that have been rendered without detail. Listen to the code. An indecipherable alphabet floods the brain. “Space” is really a bad metaphor for the Internet.

A mirrored discourse. The object we see is that which craves articulation, but is never said quite right. We are looking at speech from both sides of the mirror, listening...

Here are the playful recordings of a naturalist—the observations of a difficult object. As the studio accelerates and numerous cinematic strategies are employed, the information gathered becomes noise; all these measurements become doodles.

Two women together out west. One can't walk. Create a story.

An internalized collage film which started with the found vacation film someone gave to me many years ago. The script I recorded for the film was resistant but the photographs of Man Ray, Paul Outerbridge and the soundtracks from Bruce Lee films attached themselves. Everyone wants to touch someone. (KY)

A woman's Wizard of Oz-inspired surreal fantasy continues.

A collage film slipping between narrative starts of images and sounds

The film originated with thoughts on senseless violence, cultural observation and hypnotism. Many of the images are repurposed, related but unhinged from their original context

This animation takes as a starting point the character of Marie in Au Hasard Balthazar by Robert Bresson.

The artist breathes life into handmade dolls as she recreates a scene from Vigo’s L'Atalante.

Boys is made with traditional stop motion puppet animation and flash animation. After rough play, two boys fall back into their beanbag chairs to be set upon by bugs. They enjoy this.

Part 2 of No Place Like Home

Images and sounds appear as suggestions and are revisited; clues dispersed. Debby waits in a room not really alone.

The filmmaker's grandmother orates memories and the history of Red Banks, a pre-contact Hocąk village near present-day Green Bay, WI.

Texts and performances by the late Indigenous poet Diane Burns bind Sky Hopinka’s dazzling and mysterious blend of original and found sources, which continues the filmmaker’s exploration of language, storytelling, and transcendent ways of seeing.

Told through recollections of youth, learning, lore, and departure, this is an imagined myth for the Xąwįska, or the Indian Pipe Plant - used by the Ho-Chunk to revive those who have fainted.

An Unangam Tunuu elder describes cliffs and summits, drifting birds, and deserted shores. A group of students and teachers play and invent games revitalizing their language. A visitor wanders in a quixotic chronicling of earthly and supernal terrain. These visions offer glimpses of an island in the center of the Bering Sea.

Filmed during the 2016 Standing Rock protests in South Dakota, Sky Hopinka's Dislocation Blues offers a portrait of the movement and its water protectors, refuting grand narratives and myth-making in favour of individual testimonials.

Images of landscapes are cut and fragmented, as a hand guides their shape and construction. The voice tells a story about a not too distant past, and elements of nostalgia are assembled in terms of lore.

Sky Hopinka traverses the personal memories embedded within the landscape of Red Banks, a precontact Ho-Chunk village site near present-day Green Bay, Wisconsin, that was also where European settler Jean Nicolet made his landing in 1634.

A global portrait documenting the year's events, Cinetracts '20 features the work of an international lineup of 20 filmmakers. Capturing the zeitgeist in their own backyard, the artists' short films are the culmination of a year-long residency project.

An experimental documentary, Kicking the Clouds is centered on a 50-year-old cassette tape of a Pechanga language lesson between the director’s grandmother and great-grandmother, and contextualized by an interview with his mother in his Pacific Northwest hometown.

An exploration of Fort Marion, the US fort where Native American prisoners of war were placed.

8 stereoscopic slides taken to the jk-104 optical printer, shot frame by frame, by hand. The slides were found at a thrift store, of Cuba between 1948 and 1950 taken by an army officer. To reclaim his touristic gaze, photographs are fragmented into new frames, reviving the bodies that may have perished by the revolution in 1952.

Dinçel’s meditation on female labour utilizes close-up textures of skin, grape leaves, earth, and fabric, which are accompanied by a song written on occasion of a wedding.

Inability is the first film in the series about human failure. The filmmaker destroys and re-creates a film she was unable to finish in 2013. Filmed at the Sutro Bath ruins in San Francisco and in final domestic spaces occupied with her husband. Film was destroyed in ocean water.

Leafless is an expansion of collections, a hand processed love poem of textures about becoming familiar with a significant other’s body in reservation with its landscape.

Borrowing words from Laura Mark's 'Transnational Object' and DW Winnicott's 'Transitional Object', all carefully etched into the 16mm film surface, Nazli Dinçel's latest work Between Relating and Use is an attempt to work ethically in a foreign land. Transitioning from assuming the position of an ethnographer, we turn and explore inwards – on how we use our lovers.

Found Film.

These three films follow a young girl through her teenage years while she explores her sexuality and discovers her perversions. Hand-processed and altered images (16mm film) form a labour-intensive, formal questioning of the medium. Female and male masturbation, flowers being taken apart and being put back together, extreme close-up shots of fabric and the practice-kissing of a mirror create a visceral, humorous and tumultuous experience of these personal memories.

A transcription of what I have been told during intimate experiences while separating from my husband. Sections consist of destroyed originals from Leafless (2011) and motifs of the “feminine”. These decorative objects are re-valued through a controlled act of cutting, with an allusion to synchronization. Direct sound of cuts and hand processing are composed of 26 frame shots. Un-synced, it reveals a hearing of past images, as an act of translation.

a reconstruction of Man Ray’s Return to Reason (1929), Interval exploits dimensions of summer and winter while expanding time, questioning the process of the surrealist manifesto.

Shot at the Film Farm in Mt.Forest, this comedy is a quest about performance, educational voiceover, analogue filmmaking, ASCII, language, ethics of ethnography and narrative storytelling under a metaphor of instructions to farm land. Text by Barbara Kirshenblatt-Gimblett and Wikihow/shoot-film.

Footsteps of horses and sheep. I run to the forest in a hurry. But I never reach to the forest of my destination. I'm remain in the original place, the place before the tale. After the destination (forest) disappears gradually, aimless footsteps are left on the stage. "Being on the way to somewhere" becomes a story of film in itself. The white light placed in the center of picture is continuously changing its role and prolongs the tail of the tale.

The story flowing under this film has certain parallels to the theory of bird's hibernation and transformation advocated by Aristotle which is already dated today. In the land, ash snow is falling. The land's flag is fluttering in the blowing wind. And the quail slowly transforms into some other species. When listening to the voice of soil, there is no border in the land.

While keep continuing the silent conversation with Goethe's "Theory of Colours", I went toward the nature of Slovakia, a landlocked country of east europe. Various living things, natural caves which hides the overwhelming space in its inside, and the sun. I turned the camera towards (so-called) the insignificant incident, and I paid close attention to those things that related to each other not by language but by the colours that human can not see.

Film THE FOCUS is constructed from rephotographed images collected from old pictorial books of volcano, nomad's culture, war , mountains, some texts and simple color screens that are inserted between images. Nathaniel Hawthorne’s short story “The Earth’s Holocaust” is there as a background of this film.

A single take of a model of a Japanese home burning down, captured on hand-cranked 16mm film that was processed in coffee instead of traditional chemicals.

Video, Color

2021/video/16:9/sound/12 min

16min, 2011, shooting format: 16mm film, screening format: HD, col

Song written and produced by Sokif Vocals by Calu (Matryoshka)

Comparing the number of photoreceptor cells in eyes of human and hawk, hawk has about 8 times more photoreceptor cells than human. The title of the film is about human eyes. Figure of flying bird in sky as a small black dot is the intimation of things that human can not see. Human has been following the black dot by the desire to fly. On the other hand, bird has been distorted by human as an image or a sign.

A girl wanders like a flaneur in the center of Athens: a Constitution, a War Museum, a Town Hall. She wears sunglasses and black clothes. "Kills" a boy outside the Galaxy bar and describes, sitting on the balcony of an apartment in Exarchia, the way the Molotov bomb is operating - it is an incendiary and not an explosive mechanism, he says.