The estuary is please to welcome the festival after last year’s cancelled rendez-vous.
The Jacques Tati theater opens its screen to welcome a few films from the 2021 selection. On the program, solarization, shadows, light, landscapes, rivers, blockbusters and derailment !
Tous les fleuves s’appellent le Nil by Gustavo Jahn
2021 / 16mm / 8’
Wandering along a river bank, we are imprinted by scintillating images reflected off the green surface of the water. The landscape transforms us, while we are crossing it and transforming it in return. « Tous les fleuves s’appellent Le Nil » is a poetic experimental short film. The film’s images are the fruit of encounters with nature and people. They are images who breath, who exist in their own time continuum and who invite us to exchange our time for theirs.
The bearers of memories by Miglė Križinauskaitė Bernotienė
2020 / 16mm to DCP /13’
With each moment – another memory. But memory sometimes becomes blind and what is left is left blurry.
A proposal to project in Scope by Viktoria Schmid
2020 / 35mm / 8’
“Shot in 35mm CinemaScope, the film begins with a shot of shallow rolling waves. Images are seen of a deserted beach, overgrown dunes and the brush of a pine forest, accompanied by sounds of the ocean quietly lapping, rustling winds, and birds twittering. In midst of trees and bushes the camera reveals a CinemaScopic movie screen the filmmaker placed in a poetically sparse Lithuanian coastal landscape for nature to casts its play of light and shadow upon over the course of a day. This screen does not merely serve as a contemporary image and object of media history, it also conveys the Deleuzian sense of ‘a simultaneous presence of abundance and emptiness, past and present, mind and cosmos, inner and outer’, a free and open contemplative space.”
Frankston by Patrick Tarrant
2020/ 16 mm to DCP /21’
Frankston is a study of where the artist was raised, a Melbourne satellite with affordable housing, nature strips and beach views. The undeniable common nature of the opportunities and festivities offered by Frankston, and the ambivalence one may feel upon returning, still allow a novel aesthetic to form : the suburban symphony. Here, the symphony is created in peculiar tints and luminescence as if it was claiming Robin Boyd’s 1960 representation of “Australian hideousness” where he states that “taste has become so dull and insensitive that anything that may surprise jaded retinas may be considered as good”.
Goldman Crash by Etienne Caire
2018 / 16mm / 9’
Godzilla vomits onto the screen 20 years of Hollywood blockbusters adulterated in a grand sexual death rattle which destroys the World Trade Center, kabbalistic omen of the subprimes crisis. Oh, if only the army hadn’t discarded toxic waste into the river. A supersonic film.
Train Again by Peter Tscherkassky
2021/ 35mm / 20’
18 years after making L’arrivée (hommage to the Lumière brother’s l’Arrivée en train du gare de la Ciotat ), Peter Tscherkassky returns to a motif inextricably linked to cinema history -the train- to embark us on a virtuoso and frantic journey of which he holds the secret. With Motion picture, work shown at the Atelier, it is to the Sortie des Usines Lumière that Tscherkassky returns. By means of cinema’s main components -shadow and light- a photogram of this historical view, projected on a frame made of juxtaposed photosensitive strips of film, is transformed into a novel visual partition.