After Nantes, the adventure prisme#7 – argentique du futur migrates once again (the 5th!) in Saint-Nazaire for a reprise screening containing 8 films of the official selection at the Cinéma Jacques Tati. In this program, you will find 4 ultimate classics of experimental film coming from the Netherlands and Japan and 4 novel works, proving once more the extreme vitality of contemporary analog cinema.
PROGRAM :
Signals by Petra Graf (DE/AUST)
2024 / 16 mm / color / sound / 2’26 / suggested by MIRE
“Tubes that seem to grow out of tall dry grass while recordings of bat calls can be heard. The head of a lighthouse slowly gives its binary call, accompanied by a deep circling industrial tone. An answer comes in the form of a second set of tubes, protruding from a building like cannon barrels.
Both visual and auditory signals can be read as a type of abstract Morse code.”
NYC RGB by Viktoria Schmid (AT/US)
2023 / 16mm / color / sound / 7′ / suggested by MIRE
“With NYC RGB Viktoria Schmid shows us a view of New York that we’ve never seen before, made possible by historical color film processes. The material, triple exposed with different color filters, mixes colors, space, and time to a perception that is possible only in film. Evidence of cinema’s potential for bursting open reality. The film is part of a series of works in which Schmid looks back to early color film processes.”
Music by Liew Niyomkarn.
Rode Molen by Esther Urlus (NL)
NL / 2013 / 16 mm / sound / 5’ / suggested by Mire
“A research into motion picture printing techniques. Starting point and inspiration for the film are the mill paintings of Piet Mondriaan, especially Rode Molen. In the film color is created by multiple exposures through different masks during printing. Depending what developing process is used the colors mix in two ways: additive or subtractive.”
Où ces limites qui nous guettent se mettent à vaciller by Sophie Watzlawick (DE)
2024 / 16mm / black&white / sound / 13′ / suggested by LaborBerlin
“At the heart of the human being, in the air and under the sea.
Beyond these tableaux, the worst is happening.
An invisible off-screen disaster”
Shedding by Vicky Smith (GB)
2024 / 16mm / black&white / silent / 4′ / suggested by MIRE
“A performance for the Bolex camera in which dimensions of stasis and movement are physically enacted by filming at varying frame rates. A still figure, saturated with light, appears to be highly overexposed. As layers of the image dislodge and peel away it becomes apparent that the exposure is correct, and that actually the brightness is caused through repeated multiple superimpositions.”
Thunder by Takashi Ito (JP)
1982 / 16mm / color / sound / 5’ / suggested by Baltic Analog Lab
“Thunder woman illuminating the night (Y.G.)”
Hong Kong (HKG) by Gerard Holthuis (NL)
1999 / 35mm / sound / 12’ / suggested by Filmwerkplaats
“In 1998 Kai Tak airport in the middle of Hong Kong was closed. Approaching Kai Tak was a unique experience for the passengers . «One could read the newspapers in the street» one passenger exclaimed. Hong Kong (HKG) is a film about the approach and the passing by of the airplanes in the middle of a city. An observation at the end of this century.”
#11 (MAREY <-> MOIRE) by Joost Rekveld (NL)
1999 / 35mm / sound / 21′ / suggested by Filmwerkplaats
“# 11 (MAREY <-> MOIRE) is a film in which all images were generated by the discontinuous recording of a line’s movement. This is a film about intermittence which is at the bottom line of cinema. This manner of “divide and conquer” is in the end our only way of apprehending and manipulating the flux which surrounds us.”