Wednesday, October 11th
We kicked the festival off with the Dutch Master: Frans Zwartjes program. Frans' program opened with Sorbet III, a black and white piece that seemed an externalization of Frans' own neurosis and obsession. A girl repeatedly grasps a phallic flute of red wine, eventually chugging it ravenously and spilling the bloody looking liquid all over her light skin and dress.
Zwartjes' Spectator used two gorgeous actors to comment on the act of voyeurism and gaze inherent in cinema to remarkable effect. A man with binoculars looms over an undressing woman as Zwartjes cuts in beautiful black and white close-ups of her face and lips.
His third film, Living, stars Zwartjes and his partner, Trix Zwartjes, walking around a house, eventually sitting down to build their own small scale rooms with toy furniture in one of the house's real rooms. The color is phenomenal and Zwartjes filmed the entire piece with some mysterious technique such that it appears he's actually holding the camera the entire time, yet somehow framing everything with amazing precision while never looking into the lens. It's an effect that must truly be seen to be grasped, and Zwartjes' indecipherable expression throughout as he tastes his handkerchief adds this incredible bizarreness to the event.
The second program, Flow and Recall, was structured such that films about water and movement could act as a collective investigation of the process of memory. This was the first program to have a Q&A with the filmmakers, something we'll hopefully be doing a lot more with later in the festival as everyone gets settled in.
The final program, Domestic Blind Spots, was sold-out with people even standing in the back, one on a ladder. The event was in an intimate movie house with amazing full screen vibrant Super 8 projection. It opened with two very textural, color based films, and then A Dream In Kodachrome #25 offered a nice contrast with a stop motion animated mannequin hand. Scott Banning's Crackula was Nosferatu or Caligari gone bad, with a vampiring crack head in eyeliner stalking about a dark urban setting and busting out of a cardboard box to an intense score. More Bread Forever and Through Red Wine added a more light hearted, humorous contrast and were followed by our very own Jason Halprin's Small Gauge Politics. After two more films the program ended with an active Q&A with three of the attending filmmakers.
We're already into today's round tables with the filmmakers and VIPs, which have had a bigger turnout than expected. Tonight at 5:00 pm we're starting the screening with Slow Space by Klaus W. Eisenlohr who is already here in our round table.
-Nick Army
We kicked the festival off with the Dutch Master: Frans Zwartjes program. Frans' program opened with Sorbet III, a black and white piece that seemed an externalization of Frans' own neurosis and obsession. A girl repeatedly grasps a phallic flute of red wine, eventually chugging it ravenously and spilling the bloody looking liquid all over her light skin and dress.
Zwartjes' Spectator used two gorgeous actors to comment on the act of voyeurism and gaze inherent in cinema to remarkable effect. A man with binoculars looms over an undressing woman as Zwartjes cuts in beautiful black and white close-ups of her face and lips.
His third film, Living, stars Zwartjes and his partner, Trix Zwartjes, walking around a house, eventually sitting down to build their own small scale rooms with toy furniture in one of the house's real rooms. The color is phenomenal and Zwartjes filmed the entire piece with some mysterious technique such that it appears he's actually holding the camera the entire time, yet somehow framing everything with amazing precision while never looking into the lens. It's an effect that must truly be seen to be grasped, and Zwartjes' indecipherable expression throughout as he tastes his handkerchief adds this incredible bizarreness to the event.
The second program, Flow and Recall, was structured such that films about water and movement could act as a collective investigation of the process of memory. This was the first program to have a Q&A with the filmmakers, something we'll hopefully be doing a lot more with later in the festival as everyone gets settled in.
The final program, Domestic Blind Spots, was sold-out with people even standing in the back, one on a ladder. The event was in an intimate movie house with amazing full screen vibrant Super 8 projection. It opened with two very textural, color based films, and then A Dream In Kodachrome #25 offered a nice contrast with a stop motion animated mannequin hand. Scott Banning's Crackula was Nosferatu or Caligari gone bad, with a vampiring crack head in eyeliner stalking about a dark urban setting and busting out of a cardboard box to an intense score. More Bread Forever and Through Red Wine added a more light hearted, humorous contrast and were followed by our very own Jason Halprin's Small Gauge Politics. After two more films the program ended with an active Q&A with three of the attending filmmakers.
We're already into today's round tables with the filmmakers and VIPs, which have had a bigger turnout than expected. Tonight at 5:00 pm we're starting the screening with Slow Space by Klaus W. Eisenlohr who is already here in our round table.
-Nick Army
posted by p.marin at 5:00 PM
1 Comments:
Seems like a nice camera. I have an Eumig 125XL (http://www.kolumbus.fi/puistot/e.htm). Very reliable also. Best
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