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This week [May 19 - 26, 2013] in avant garde cinema
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This week's programs (summary):
- Michael Klier's Der Riese [The Giant] [May 19, Chicago, IL]
- Simply Because You're Near Me: Films By Phil Solomon [May 19, Los Angeles, California]
- Essential Cinema: Stan Brakhage Program 2 [May 19, New York, New York]
- Essential Cinema: Dog Star Man [May 19, New York, New York]
- Essential Cinema: Songs 1-14 [May 19, New York, New York]
- The Elegiac visions of Phil Solomon [May 20, Los Angeles, California]
- Dash Shaw + Bobby's Girl [May 21, Brooklyn, NY]
- Two Films By Charles Dekeukeleire [May 23, Brooklyn, NY]
- King Lavra: A Micro-Opera With Live video By Sheri Wills [May 23, Brooklyn, New York]
- Pxl This 22 [May 23, Los Angeles, California]
- Walter Ungerer/ Recent Short Films [May 23, Portland]
- Ken Jacobs Program 1 [May 24, New York, New York]
- Ken Jacobs Program 2 [May 24, New York, New York]
- Animator/Filmmaker Emily Hubley In-Person [May 25, Harrisburg, PA]
- Essential Cinema: Stan Brakhage Program 3 [May 25, New York, New York]
- Essential Cinema: Text of Light [May 25, New York, New York]
- Ken Jacobs Program 3 [May 25, New York, New York]
- Ken Jacobs Program 4 [May 25, New York, New York]
- New Experimental Works [May 25, San Francisco, California]
- Videoex Festival / Chris Marker: Short Films & La JetéE [May 25, Zurich]
- Videoex Festival / the Short Films By David Lynch [May 25, Zurich]
- Essential Cinema: Brakhage Pittsburgh Trilogy [May 26, New York, New York]
- Ken Jacobs Program 5 [May 26, New York, New York]
- Ken Jacobs Program 6 [May 26, New York, New York]
- Videoex Festival / "Ici Et Ailleurs" By Jean-Luc Godard [May 26, Zurich]
| Sunday, May 19, 2013 |
Chicago, IL:
White Light Cinema
7:30, The Nightingale, 1084 N. Milwaukee
Michael Klier's DER RIESE [THE GIANT]
White Light Cinema and The Nightingale Present - Michael Klier's DER RIESE [THE GIANT] - A Prescient 1983 German Film Essay on Surveillance - Sunday, May 19 – 7:30pm, At the Nightingale (1084 N. Milwaukee Ave.) - - Der Riese [The Giant] - Michael Klier (1983, 82 min, Video on DVD, West Germany) - "Comprised entirely of material generated by surveillance cameras, Der Riese is a rhapsodic but ominous work depicting the world with a cold mechanical spirit. That nothing can escape the chill stare of surveillance is only the starting point of Klier's tape. People come and go in public places-parks, department stores, banks, airports-like lifeless ciphers, unaware of the authoritarian stare of the camera. The flattened field of vision, black-and-white imagery, and sterile quality of the technology make the inhabitants of Der Riese emptied shadows. They are the signs of life\; truly signs, not the flesh rendered in two dimensions. Lyrically constructed sequences unfold to the strains of Mahler and Wagner, adding an almost heroic mood to much of this dark work. But this is where Der Riese excels-footage seemingly impervious to meaning here acquires the energy of high drama. Even the unblinking eye of the surveillance camera can be foiled." (Steve Seid, Pacific Film Archive)
Los Angeles, California:
Filmforum
7:30 pm, Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd., Los Angeles CA 90028
Simply Because You're Near Me: Films by Phil Solomon
In our second night with Phil Solomon in person, Solomon brings an array of 16mm classics from throughout his career, and presents the world premiere of a new work! Nocturne (1980/89, 16mm, 10 min.), The Secret Garden (1988, 16mm, 23 min.), Seasons... by Phil Solomon and Stan Brakhage (2002, 16mm, 15 minutes), The Snowman (1995, 16mm, 8 min.), Psalm II: "Walking Distance" (1999, 23 min.), and Simply Because You're Near Me (2013, color, sound, HD video, 12 minutes) World Premiere! Tickets: $10 general, $6 students/seniors; free for Filmforum members. Available by credit card in advance from Brown Paper Tickets at http://www.brownpapertickets.com/event/375330 or at the door.
New York, New York:
Anthology Film Archives
4:15 pm, 32 2nd Avenue
Essential Cinema: Stan Brakhage program 2
Unless otherwise noted, all films are silent.
ANTICIPATION OF THE NIGHT (1958, 40 min, 16mm)
CAT’S CRADLE (1959, 6 min, 16mm)
SIRIUS REMEMBERED (1959, 12 min, 16mm)
THE DEAD (1960, 11 min, 16mm)
MOTHLIGHT (1963, 4 min, 16mm)
BLUE MOSES (1963, 11 min, 16mm, b&w, sound)
With ANTICIPATION OF THE NIGHT, Brakhage leaves psychodrama and enters the “closed-eye vision” period. This program also contains a unique example of a film made without a camera, MOTHLIGHT, and one of Brakhage’s few sound (and ‘acted’) films, BLUE MOSES.
Total running time: ca. 90 min.
New York, New York:
Anthology Film Archives
6:15 pm, 32 2nd Avenue
Essential Cinema: Dog Star Man
by Stan Brakhage
1961-64, 74 min, 16mm
A masterwork in which all of Brakhage’s techniques achieve a complex synthesis to produce one of cinema’s supreme epic poems.
“The film breathes and is an organic and surging thing… it is a colossal lyrical adventure-dance of image in every variation of color.” –Michael McClure, ARTFORUM
New York, New York:
Anthology Film Archives
8:00 pm, 32 2nd Avenue
Essential Cinema: Songs 1-14
by Stan Brakhage
1964-65, ca. 53 min, 16mm
“SONG 1: Portrait of a lady. SONGS 2 & 3: Fire and a mind’s movement in remembering. SONG 4: Three girls playing with a ball. Hand painted. SONG 5: A childbirth song. SONG 6: The painted veil via moth-death. SONG 7: San Francisco. SONG 8: Sea creatures. SONG 9: Wedding source and substance. SONG 10: Sitting around. SONG 11: Fires, windows, an insect, a lyre of rain scratches. SONG 12: Verticals and shadows caught in glass traps. SONG 13: A travel song of scenes and horizontals. SONG 14: Molds, paints and crystals.” –S.B.
| Monday, May 20, 2013 |
Los Angeles, California:
Redcat
8:30pm, 631 West 2nd St., Los Angeles, CA 90012
The Elegiac Visions of Phil Solomon
Since 1975, Phil Solomon has been making films that magically penetrate the surface of images and reveal depths of new poetic meaning. Solomon’s 16mm films imbue prerecorded imagery with fantastical sensual and dimensional qualities. His recent work extends these concerns into the digital realm, creating haunting landscapes that reawaken the mysteries of life and death, and of physical reality and alternative states. Solomon presents two masterful films,
What's Out Tonight is Lost
(1983) and
Psalm I: "The Lateness of the Hour"
(1999), and four digital works,
Innocence and Despair
(2002), his tribute to 9/11, and
In Memoriam
(2005–09), a trilogy in memory of filmmaker Mark LaPore that mystically transforms backgrounds from the video game series
Grand Theft Auto
. | Jack H. Skirball Screening Series |
$10 [students $8, CalArts $5]
| Tuesday, May 21, 2013 |
Brooklyn, NY:
Light Industry
7:30, 155 Freeman Street
Dash Shaw + Bobby's Girl
"A former student of the genius artist-seer-cartoonist Gary Panter, Dash, it's fair to say, is something of a genius as well." - Chris Ware - "I have seen the future of comics and its name is Dash Shaw." - David Mazzucchelli - With books like Bottomless Belly Button, BodyWorld, and his latest, New School, the young cartoonist Dash Shaw is responsible for some of the most adventurous and idiosyncratic comics being made today. His dynamic serial forms feature elaborately layered panels and off-kilter figuration, betraying a remarkable confluence of styles and strategies, at times recalling everything from Sigmar Polke to manga. Recently, in anticipation of a feature-length project, he has also begun to produce a similarly variegated body of animation, which includes music video, the melancholy droid-drama The Unclothed Man in the 35th Century, A.D., and a biography that covers a chapter in the life of Dada doyenne Baroness Elsa von Freytag-Loringhoven. He's also crafted cinematic permutations of his own comics, as well as adaptations of game shows and reality tv that marry their source materials' original audio tracks with a series of static illustrations to uncanny effect—Wheel of Fortune never seemed so heartbreaking, or so strange. Tonight, he'll present a selection of his experiments with moving images at Light Industry. Rounding out the lineup is a film chosen by Shaw that he finds resonant with the concerns of his particular hand-drawn animation techniques: Bobby's Girl, an 80s anime rarity about a teenage biker, his pen pal, and his death drive. - Followed by a conversation with Shaw. - Tickets - $7, available at door. - Please note: seating is limited. First-come, first-served. Box office opens at 7pm.
| Thursday, May 23, 2013 |
Brooklyn, NY:
Light Industry
7:30, 155 Freeman Street
Two Films by Charles Dekeukeleire
Impatience, Charles Dekeukeleire, 16mm, 1928, 27 mins, Histoire de détective, Charles Dekeukeleire, 16mm, 1929, 37 mins - An unjustly overlooked figure of the European avant-garde, Belgian filmmaker Charles Dekeukeleire made only four experimental works in the 1920s. Two of them—Impatience and Histoire de détective—are nothing less than hidden masterpieces of the era, though they reportedly baffled audiences in their own day. In this pair of films, Dekeukeleire proposes an enigmatic disassembling of silent cinema's constitutive logics, presaging the concerns of structural film by many decades and dramatically upending conventions of narrative form. - Impatience is built around what Dekeukeleire called the four "characters" of the film, introduced in a title card as The Mountain, The Motorcycle, The Woman, and Abstract Blocks. Each element appears in a succession of discrete, repeated shots, their relationship suggested exclusively via montage, yet never granting the viewer the climactic payoff of fiction they at first appear to promise. The evocation of speed and a vertiginous cinematography seem in tune with the loopier elements of the 20s avant-garde, but ultimately Impatience feels less allied to contemporaneous experiments such as Ballet mécanique and more like a forgotten ancestor to the internal-combustion erotics of Kustom Kar Kommandos. - If Impatience suggests a foray into pure cinema by stressing the primacy of phenomenological experience, Histoire de détective overturns this very project through its deployment of a film-within-a-film that constitutes a failure of optical investigation. The story concerns Mme. Jonathan, who hires T, a detective, to trail her neurasthenic husband around Belgium and Luxembourg. T uses a motion-picture camera to follow M. Jonathan, and most of Histoire is taken up with T's shaky, idiosyncratic footage of street scenes and local architecture. Providing few clues of their own, T's digressive shots are interrupted by elaborately designed intertitles that bear almost all of the narrative information of the film. This distended structure plays with the tropes of the crime serial, but almost sadistically denies the viewer any of the genre's expected visual pleasures in favor of less obvious effects. "My greatest concern," Dekeukeleire once noted, "is to make the camera's lens live like the eye, like a glance...conditioned by the inner life." - Impatience and Histoire de détective will be screened on unsubtitled 16mm prints courtesy of the Royal Film Archive of Belgium. For tonight's event, the intertitles will be translated live by Luc Sante. - Tickets - $7, available at door. - Please note: seating is limited. First-come, first-served. Box office opens at 7pm.
Brooklyn, New York:
Roulette
8:00PM, 509 Atlantic Ave (On the corner of Atlantic & 3rd Aves) DOWNTOWN BROOKLYN
king lavra: a micro-opera with live video by sheri wills
King Lavra is a micro-opera by Czech composer, Jan Jirásek, with live video by Sheri Wills, and performed by KHORIKOS. Based on an old folk tale, King Lavra is a very contemporary re-telling of secrets concealed and revealed: a psychological story of an individual hiding a silent shame and a political one of the people's need to know the true nature of their leaders.
Los Angeles, California:
Echo Park Film Center
8 pm, 1200 N. Alvarado St.
PXL This 22
PXL THIS 22, the 22nd annual toy camera film festival featuring Pixelvision films made with the Fisher-Price PXL-2000 camcorder and the second oldest film festival in LA, celebrates visionary moving image artists from 4-years-olds to professionals. All genres are here: avant-garde, comedy, documentary, abstract, music, art, narrative & films words cannot describe. "PXL is the ultimate people's video." - J. Hoberman. "If movies offer an escape from everyday life, Pixelvision is the Houdini of the film world." - SF Weekly. Director Gerry Fialka will be present for discussion!
Portland:
St. Lawrence Arts Center
7:00 PM, 76 Congress Street
WALTER UNGERER/ Recent Short Films
Please note: This is the re-scheduling of a previous engagement from April 23 to May 23
On Thursday, May 23rd, St. Lawrence Arts will present a program of his recent short films including GREEN EYE (Atlanta Film Festival) and MONARDA (Strand Theater and Farnsworth Museum collaboration). There will be a Q & A at the conclusion of the program.
Walter Ungerer is a longtime filmmaker and artist of international reputation, beginning with the underground film scene in NYC in the early 1960s, continuing through to the 21st century in Maine. Ungerer’s works have been shown at festivals and competitions throughout the world including Florence, Tours, Athens, Hong Kong, Houston, Tate, UK and MoMA, NY.
Two of Ungerer’s films with recent success on the international festival circuit are PARVA SED APTA MIHI (Factory Art, Berlin, Germany Alchemy Festival, Scotland; Experimental Film Festival, Oregon) and GREEN EYE (Atlanta Film Festival)
Ungerer uses the short form, another term for short film. His method of working can be described as layering or building visual sequences one on top of the next. For years he was noted for using the long form (films over 75 minutes) shooting narrative films with concern for static shots devoid of any camera movement but with careful concern for composition, suggesting a painterly quality. This is no surprise since Ungerer studied fine and graphic arts at Pratt Institute in the 1950s. His willingness to begin to embrace the computer in the 1990s is a change thought by some to be brought about by the escalating costs of producing a film. To focus on the visual qualities of Ungerer's films without mentioning the ethereal, meditative tones they eschew, is to miss the most important part of his work, the ability to take the viewer to another realm, a surreal atmosphere where, as Hannah Piper Burns, co-director of the Experimental Film Festival, Oregon describes it, "…the film deals with life, freedom, and transcendence of limitations".
| Friday, May 24, 2013 |
New York, New York:
Anthology Film Archives
7:00 pm, 32 2nd Avenue
Ken Jacobs program 1
ORCHARD STREET (1955, 12 min, 16mm-to-35mm blow-up. Preserved by The Museum of Modern Art with support from the Celeste Bartos Fund for Film Preservation.)
ARTIE AND MARTY ROSENBLATT’S BABY PICTURES (1963, 4 min, 8mm, sound on tape)
AIRSHAFT (1967, 4 min, 16mm)
JERRY TAKES A BACK SEAT, THEN PASSES OUT OF THE PICTURE (1975, 15 min, 8mm-to-16mm blow-up)
THE WINTER FOOTAGE (1964, 50 min, 8mm-to-16mm blow-up)
Total running time: ca. 90 min.
New York, New York:
Anthology Film Archives
9:15 pm, 32 2nd Avenue
Ken Jacobs program 2
THE WHIRLED (1956-63 [compiled in early 1990s], 19 min, 16mm. Preserved by Anthology Film Archives.)
BAUD’LARIAN CAPERS (A MUSICAL WITH NAZIS AND JEWS) (1963, 25 min, 16mm)
BOB FLEISCHNER DYING (2009, 3 min, digital video)
HOT DOGS AT THE MET (2009, 10 min, digital video)
LISA AND JOEY IN CONNECTICUT, JANUARY ’65: “YOU’VE COME BACK!” “YOU’RE STILL HERE!” (1965, 18 min, 8mm-to-16mm)
Total running time: ca. 80 min.
| Saturday, May 25, 2013 |
Harrisburg, PA:
Moviate
2:00pm, 612 N Front St.,
ANIMATOR/FILMMAKER EMILY HUBLEY IN-PERSON
part of THE 15th Annual ARTSFEST FILM FESTIVAL: EMILY HUBLEY (animator/filmmaker) IN-PERSON - ANIMATOR for the film "HEDWIG AND THE ANGRY INCH" and videos for Yo La Tengo, The Db's and more! - Ms. Hubley has been making animated shorts since 1980. Her hand-drawn films explore personal memory and the turbulence of emotional life. Her newest short, and/or extends this to the perspective of a male artist, who debates his inner/outer muse. and/or screened at the San Francisco International Film Festival, animation festivals in Poland and Hiroshima and this year's Black Maria Film Festival. EMILY will present TWO PROGRAMS mixing her films with those of her parents, animators John and Faith Hubley. - Oscar Nominated Short by John and Faith Hubley, http://youtu.be/cit6iUEEdyo - 2PM - Program 1 "ALL AGES AFTERNOON" 88 minutes. - With 3 films by Faith Hubley, 3 films by Emily Hubley, and 4 films by John and Faith Hubley. - Adventures of an *(John and Faith 1956) 10m - Hello(Faith 1984) 9.5m - Moonbird(John & Faith 1959) 10m - Time of the Angels(Faith 1987) 10m - Cockaboody(John & Faith 1973) 8.5m - The Tower(Georgia & Emily 1984) 11.5m - Urbanissimo(John & Faith 1967) 6m - Enough(Emily 1992) 4.5m - Tall Time Tales(Faith 1992) 8m - One Self: Fish/Girl(Emily 1997) 10m - and - 4PM, Program 2 "PRE-EVENING ADULT FRIENDLY" 89 minutes. - With 2 films by Faith Hubley, 4 films by Emily Hubley, and 4 films by John and Faith Hubley. - Date w Dizzy(John & Faith 1960) 10m - The Hole(John & Faith 1962) 15m - Pigeon Within(Emily 2000) 4.5m - Eggs(John & Faith 1970) 6m - Her Grandmother's Gift(Emily 1995) 6m - Witch Madness(Faith 1999) 8.5 - Zuckerkandl(John & Faith 1969) 15m - Set Set Spike(Emily 2003) 6m - Tender Game(John & Faith 1958) 6m - Northern Ice Golden Sun(Faith 2001) 6.5 - and/or (Emily 2012) 5.5m - at the Civic Club of Harrisburg. - FREE
New York, New York:
Anthology Film Archives
3:00 pm, 32 2nd Avenue
Essential Cinema: Stan Brakhage program 3
All films are silent.
LOVING (1956, 4 min, 16mm)
PASHT (1965, 5 min, 16mm)
FIRE OF WATERS (1965, 10 min, 16mm, b&w, sound)
THE HORSEMAN, THE WOMAN AND THE MOTH (1968, 19 min, 16mm)
THE WEIR-FALCON SAGA (1970, 29 min, 16mm)
SEXUAL MEDITATION #1: MOTEL (1970, 7 min, 16mm)
SEXUAL MEDITATION: ROOM WITH A VIEW (1971, 4 min, 16mm, b&w)
THE SHORES OF PHOS: A FABLE (1972, 10 min, 16mm)
A selection from some of Brakhage’s most densely mysterious works.
Total running time: ca. 95 min.
New York, New York:
Anthology Film Archives
5:00 pm, 32 2nd Avenue
Essential Cinema: Text of Light
by Stan Brakhage
1974, 67 min, 16mm
Brakhage’s tour-de-force exploration of refracted light in an ashtray. “All that is, is light.” –Dun Scotus Erigena
New York, New York:
Anthology Film Archives
7:00 pm, 32 2nd Avenue
Ken Jacobs program 3
THE DOCTOR’S DREAM (1978, 23 min, 16mm)
PERFECT FILM (1985, 22 min, 16mm)
WHAT HAPPENED ON 23RD STREET IN 1901 (2009, 14 min, digital video)
THE SURGING SEA OF HUMANITY (2006, 11 min, digital video)
Total running time: ca. 75 min.
New York, New York:
Anthology Film Archives
9:00 pm, 32 2nd Avenue
Ken Jacobs program 4
GLOBE (1969, 22 min, 16mm, Pulfrich 3D)
INSISTENT CLAMOR (2005, 22 min, digital video)
BRAIN OPERATIONS (2009, 22 min, digital video)
MAKE LIGHT ON FILM (1995, 15 min, 16mm, Pulfrich 3D)
Total running time: ca. 85 min.
San Francisco, California:
Other Cinema
8:30 PM, 992 Valencia St
NEW EXPERIMENTAL WORKS
Here’s an energized evening of new cinema that champions personal expression and radical form. Constituting the season’s most exploratory programming initiative—and with many of the makers in person—are Salise Hughes’ Charade, Kelly Sears’ The Rancher, Brook Hinton’s Slow Force Glimpse, Pablo Marin’s Denkbuilder, Heidi Phillips’ Art Composition, David Cox’ Do Others, and Daniel Corona’s Bedroom. PLUS recent pieces by Anne McGuire, Jeanne Finley, Linda Scobie, Bryan Boyce, Doug Katelus, and a new movie by Miles Votek, Zander Mackie, and Ben Fash. Lana Voronina delivers the deathblow with her New World Order Rave Mom performance. Come early for artists’ reception, free pencils, and the Dream Machine!
Zurich:
Videoex
20:15, Kanonengasse 20
VIDEOEX Festival / Chris Marker: Short Films & La Jetée
The 1962 French science fiction featurette "La Jetée" is considered as one of the masterpieces of Chris Marker's experimental practice.
Constructed almost entirely from still photos, it tells the story of a post-nuclear war experiment in time travel which has inspired a long list of filmmakers during the last decades.
For the opening night of the Videoex Festival a sequence of short films by Chris Marker - including "La Jetée" - will be projected in the space of the Cinema Z3.
Zurich:
Videoex
22:00, Kanonengasse 20
VIDEOEX Festival / The short films by David Lynch
Filmmaker, scriptwriter, producer, visual artist, musician and actor, David Lynch is worldwide known expecially for his surrealist films, which are developed in a unique cinematic style, characterized by its dream imagery and meticulous sound design.
The end of the first day of the Videoex Festival is dedicated to the projection in series of selected short films by the American multifaceted director.
| Sunday, May 26, 2013 |
New York, New York:
Anthology Film Archives
3:30 pm, 32 2nd Avenue
Essential Cinema: Brakhage PIttsburgh Trilogy
EYES
1970, 36 min, 16mm, silent.
“After wishing for years to be given-the-opportunity of filming some of the more ‘mystical’ occupations of our Times – some of the more obscure Public Figures which the average imagination turns into ‘bogeymen’... viz.: Policemen, Doctors, Soldiers, Politicians, etc.: – I was at last permitted to ride in a Pittsburgh police car, camera in hand, the final several days of September 1970.” –S.B.
&
DEUS EX
1971, 34 min, 16mm, silent.
“I have been many times very ill in hospitals; and I drew on all that experience while making DEUS EX in West Penn. Hospital of Pittsburgh; but I was especially inspired by the memory of one incident in an emergency room of San Francisco’s Mission District: while waiting for medical help, I had held myself together by reading an April-May 1965 issue of ‘Poetry Magazine’: and the following lines from Charles Olson’s ‘Cole’s Island’ had especially centered the experience, ‘touchstone’ of DEUS EX, for me: Charles begins the poem with the statement ‘I met Death –’ And then: ‘He didn’t bother me, or say anything. Which is / not surprising, a person might not, in the circumstances; / or at most a nod or something. Or they would. But they wouldn’t, / or you wouldn’t think to either, / it was Death. And / He certainly was, the moment I saw him.’” –S.B.
&
THE ACT OF SEEING WITH ONE’S OWN EYES
1971, 32 min, 16mm, silent.
“…Brakhage, entering, with his camera, one of the forbidden, terrific locations of our culture, the autopsy room. It is a place wherein, inversely, life is cherished, for it exists to affirm that no one of us may die without our knowing exactly why. All of us, in the person of the coroner, must see that, for ourselves, with our own eyes. It is a room full of appalling particular intimacies, the last ditch of individuation. Here our vague nightmare of mortality acquires the names and faces of others.” –Hollis Frampton
Total running time: ca. 105 minutes.
New York, New York:
Anthology Film Archives
6:15 pm, 32 2nd Avenue
Ken Jacobs program 5
AMERICA AT WAR (2011, 30 min, digital video, anaglyph 3D)
ANOTHER OCCUPATION (2011, 15 min, digital video)
SEEKING THE MONKEY KING (2011, 40 min, digital video)
Total running time: ca. 90 min.
New York, New York:
Anthology Film Archives
8:30 pm, 32 2nd Avenue
Ken Jacobs program 6
KEATON’S COPS (1991, 23 min, 16mm)
HIS FAVORITE WIFE IMPROVED (OR THE VIRTUE OF BAD RECEPTION) (2008, 2 min, digital video)
WE ARE CHARMING (2007, 1 min, digital video)
HANKY PANKY JANUARY 1902 (2007, 1 min, digital video)
NYMPH (2007, 2 min, digital video)
ALONE AT LAST (2008, 2 min, digital video)
THE DISCOVERY (2008, 5 min, digital video)
LOVE STORY (2008, 3 min, digital video)
DISORIENT EXPRESS (1996, 30 min, 35mm)
Total running time: 75 min.
Zurich:
Videoex
18:15, Kanonengasse 20
VIDEOEX Festival / "Ici et ailleurs" by Jean-Luc Godard
As a first step of "For ever Godard!", a short survey inside the film practice of the Swiss-French director Jean-Luc Godard shown during the Videoex Festival, one of his most controversial films will be projected in the Cinema Z3.
"Ici et ailleurs", produced in 1976 by using footage from "Jusqu'à la victoire" (a 1970 pro-Palestinian film made by Godard and Jean-Pierre Gorin), marks the beginning of Godard's transitional period, which found him experimenting with video and moving from political polemics to an examination of the way people perceive themselves and others.
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