Final clap for the PRISME team, terminal : La Roche-sur-Yon !
Feathers – grit – bread ! Rock, paper, scissors revisited in analog mode as a starter.
Superstition, sacrilege and spare parts.
Abstract exploration of ordinary and sensitive surfaces of communal life.
Movement-image and time-image reunited on the same photogramme.
And finally, submarine dance-floor for a cathartic and stroboscopic final.
P L U M E by Mike Rollo
2021 / 16mm/ 7’27”
Fingers pluck fallen evidence of flight; placed and traced to make avian light.
Grit by Matt Davies
2021/ 16mm / 3’40”
A 16mm camera held against the stomach, takes a single frame every 12 steps during an 18 mile walk along Chesil Beach in Dorset, UK.
Film porte-malheur : le pain by Gérémy Lelièvre
2022 / 16mm / 3’45
Anguish film which will bring you misfortune.
On execution day, the baker would reserve a loaf of bread for the executioner by placing it upside down upon his stall. From there on, a superstition began : to place a loaf of bread upside down on a table would attract the executioner to one’s home, and therefore, conjuring death.
Face Home View by Raquel Vermunt
2021 / 16 mm / 8’41”
FACE HOME VIEW’ listens to the echoes of time passing, reveals traces of life, sounds and movements. Fleeting moments captured by the silent walls of the location the work portrays.
Erde im Mund (Earth in the mouth) by Ewelina Rosinska
2019 / 16mm vers DCP/ 20’
Like a photo book, the film creates new images and relationships between shots, reassembling a journey of impressions where the outlines of the world undulate. In a sensual sequence, images search freely for the stories that shape lives — faith, patriotism, anarchism, tourism in Poland and Germany, returns, arrivals, sketches of everyday life in Portugal, gestures and moments from Brazil and Greece. Shot on 16 mm, in seven chapters.
I. de Alexandre Larose
2021 /Super-8 vers 35mm / 15’
This three-part series is part of the “scènes de ménage” developing project. It is an ensemble of vignettes, cinematographic panels, built around the repeated gestures of my parents’ day-to-day. I present these scenes sometimes as sequence-shots, sometimes as a succession of cuts. Some portray only one parent, with an emphasis on the way he/her negociates the domestic space. With these panels, imagined in different environments et through a specific treatment of the medium, I work to reveal the singularity of these locations, of the moving figures and the relationship between the two.
Potemkin Piece de Justin Clifford Rhody
2021 / 35mm / 1’14
A collaborative deconstruction/destruction of a Battleship Potemkin 35mm trailer created through the mail during lockdown with nearly 100 participants. Each person was sent half-second long strips of the film to manipulate as they saw fit. Once returned, they were spliced together in a new sequence creating a chance-driven score from the optical soundtrack. A messy and exciting experiment in montage and cut up techniques made by a diverse cast including found footage maestro Craig Baldwin and my high school girlfriend.
Marsa Abu Galawa (Careless Reef Part 4) de Gerard Holthuis (NL)
2004 / 35mm / 13’
Impressions of the underwater world in the red sea. The film is a bombardment of images and features the music of Abdel Basset Hamouda, an Egyptian musician. The structure of the film is based on the so called «flicker films», in which the unconscious experience of the images is more important than the actual images. MAG is part of the Careless Reef series, four short films who deal with the underwater world.