سال 1982 - 281

The films of Thomas Feldman are represented neither by the imagination nor (less) by the course of events. Until the end of the films, their true nature is the drama that finds a place at the borders and edges of existence, in which it will focus and intensify and that is why it is an image. . The action takes place less in the images than between the images, in the narrow sphere of darkness, which joins the image with the image and from which they draw their mystery… Movements, rhythms, cuts: these elements give Feldman's films their body language, the invocation of their materiality, their eroticism. All the films are marked by the unforeseen: like sudden pain, like blossoming happiness, like the transgression of limits or barriers, like the explosion of colors.

A day in the life of a spirited bag lady.

Short film. Plot unknown.

Gaia’s Dream is a vivid animated film made by drawing and painting directly on 16mm clear film. Emerging from images which suggest primordial beginnings, a running horse becomes the focus of this rhythmic and abstract animation. At its climax, the horse is transformed and takes flight before disappearing into the sun from which it came. The musicians of Gwinyai performed a soundtrack of traditional music from Zimbabwe expressly for the film.

Animated short film

Foire du trône was made in a big annual Paris fair, like Coney Island. I filmed the people and the games, and that forms the first part of the film. The second part is an elaborate working of the coloured lights. (T.H.)

The video works 'Traumasyl' and 'Jukai, the Sea of Trees' are characterized by a cinematic and associative style, in which atmosphere plays an important role. There is certainly no word of a plot or unambiguous content. Influenced by the Italian film maker Michelangelo Antonioni, he draws a picture here of mental and physical oppression. A monitor in an empty room alternately shows the faces of a woman and a man. Their lips are moving, but you cannot hear their voices. Their faces are 'blindfolded', and 'tied up' with a rope which is fastened around the monitor. Then there are images of the woman in the empty room in which she looks at herself on the screen and in a broken mirror. Locked up in this circuit and her own thoughts, she is unable to make contact.

The Costa Rican situation of women incorporated into the production in a double shift, jobs and housework.

Varble spent the last five years of his life working on an epic, unfinished performance-turned-video titled Journey to the Sun (1978-1983). Only partially complete and under constant revision, this complex work combined Varble’s history of making costumes for performances, with his fantastic stories involving metamorphosis and martyrdom. In 1982, Varble decided to make a “prelude” to Journey to the Sun, combining existing footage with new video taken in Riverside Park in New York City. This self-contained video differs greatly from the bulk of Journey to the Sun, in that it is not constructed around the main narrative, but rather is composed of prefatory remarks and extended footage of outdoor scenes, and contains no dialogue. The main aim of this prelude was to provide a key to some of the main sources for Varble’s thought — actress Greta Garbo, spiritual leader George Gurdjieff, and founder of the Subud movement Muhammad "Pak" Subuh.

Clips from classic Old Hollywood musicals highlight the singing and dancing talent of stars like Fred Astaire, Ginger Rogers, Steve Martin, Miss Piggy, Carmen Miranda, and Shirley Temple.

Architect and urbanist Sérgio Bernardes (the film director’s father) designs a hypothetical zoning plan to rescue a city on the path to ruin due to chaotic and unorganized development. The seemingly long takes are in contrast to the editing, which is meant to evoke chaos and emphasize the ironic progression

"That's the most formal piece I ever did. It's very reductionist because I was interested in dealing with the computer and the digital imaging process on its own terms. The only analog image is a voltage-controlled moving square created with the Rutt/Etra synthesizer. I used that image pattern through which to key and genlock other computer-created textures and square shapes. I was using a program called "Clear Center" where the pixel is routed from the center of the raster all the way around the rectangles in either direction at very high speed. By controlling the luminance and width of the pixel you get different kinds of textures within the square. Here, the square is articulated as an evolving architecture in time-from classical space (Greece) to outer space (Jupiter) using light energy as the building material." - B.B.

16mm experimental film shown at 4 frames per second

A short about those December holidays.

The young Rui Ramos constantly turns his life into amazing dreams due to the influence of novels, comic-books and movies.

A story about the loneliness, alienation, fear and nervousness of modern man.