کال 1997 - 372

A Super-8 film by Stom Sogo.

Hand-developed and unedited, this roll lived in my camera from March to May 1995: A trip to New Orleans, a train ride, the death of a dear friend and artist. This film is the author of itself; its trace function leaves me behind.

A film by Günter Zehetner

In Metal Cravings, Elise Hurwitz focuses on film’s emulsion.

This first work in the HalfLifers' Action Series plunges into a world of frantic heroes trapped in a continual crisis of dissolution and reification. An ordinary domestic setting is recast as a psychoactive landscape in which the concept of function becomes situational and fluid. Only through the strategic application of organic and inorganic “devices” can this zone be successfully navigated and the mission be saved.

In 1997, Embargo used images and sound to convey the physical suffering of the Iraqi people, who alone bore the brunt of the political punishment meted out to their leaders, the terrorism perpetrated by the international institutions responsible for such a decree, the reign of injustice elevated to the status of political strategy, and the moral corruption engendered by the embargo.

What goes around comes around: the daily cycle of home-work-home illuminated in collage, Hi-8 and paint. Layered and luminous with in-sight. An account of a journey from home to work as seen through the filter of the conscious and subconscious mind. Through the use of moving collages and painterly animation laid over Hi-8 footage, the viewer is able to share the traveller’s experiences and his mental reactions to the trials and triviality of urban existence. An animated account of a two mile journey made from home to work on foot. Hi-8 video footage digitized and printed out using an inkjet printer is combined with drawings, text and paint. A subjective representation of how visual information is filtered and processed by the conscious and subconscious mind. We share the traveller’s experiences: his idle thoughts and repetitive neuroses and see his mental reactions to the trials and triviality of daily life.

Short film by Gertrude Moser-Wagner

A collection of satirical "anti-commercials" that urge television viewers to "fight TV addiction," give up their polluting cars, otherwise reject contemporary material excesses.

The dishonourable Dokter Schnitzel uses the energy of young people to make his deceased mother live again.

The voyage of an old Chinese professor, living in Budapest, to his and present-day China. Can he free himself from his anxieties after years of humiliation? Can one make up for things lost?

Pura Vida, Spanish for the pure life, is a 16mm film documenting the lifestyle of skiers and snowboarders who search the globe living for deep snow and big mountains.

This fantasy experimental short film was made for ‘The awakening of the spring’, a spectacle staged by Bruno Lajara presented at the Festival of Avignon. It was shot, edited and forged in beta SP ; then kinescoped into 16mm. This film has also been screened into a part of the decoration set of the theatre piece. "After the suicide of his best friend, one of the characters, Melchior, is haunted by the ghosts of his companions and his first love." This is a silent film, without any credits. During a screening, it is planned to accompany it live by the musicians of Debout sur le Zinc.

A young man shut himself up in a house on sea shore for two weeks. He brought only music recorded tapes. He wants to write on music, the main question being for him: what represents music for man? He tells eight experiments done in different places or occasions (in a car, at the opera, at a rock gig, listening a walkman,..). He expresses how the way you are listening can affect your feelings and reflection. His voice and his written words appearing on screen are the mental counterpoint of silent images.

Paul Ramírez Jonas’ Longer Day (1997) is an attempt to make a summer day longer as he drives west into the sunset, racing against the dying light. In Michael Stanley’s words, a “sense of futile endeavour pervades the work and an almost perverse celebration of ‘failure’, as the unwritten history of technological progression provides a platform for the discussion of much broader concerns such as time, memory and loss.”

The film is a cinematic articulation of inculcating curiosity in classroom spaces. It urges reflection on the idea that education is not just about gaining knowledge; it is also about being open to dialogue, self-awareness, and personal transformation.