Traumas are sometimes impossible to reconstruct completely; our body, as a defense mechanism, erases them, leaving traces in the unconscious. Jeana guides us on a journey through childhood, in her words 'the biggest wound we all carry inside'. From a performance of her own life, she tells us about the characters that once inhabited it, among choppy and superimposed images, which repeat, move forward or backward, illustrating the complexity of memory when faced with the unnamable. Indelible trace on the way to a future in which fashion and humanity are reinvented.
A surreal look at Sydney, shot during 1988.
"These Are the Days is about the passing of time. It is a computer animation of falling paper, with a sound-track of people counting. By combining mathematical models of different physical phenomena such as gravity, elasticity and aerodynamics I can create abstracted simulations of natural systems. As well as the formal qualities that are explored in this work, I am interested in other possible readings. The endless flow of paper suggests the meditative space of a waterfall, yet also speaks of consumption and waste. Our lives are documented by a continual stream of paper, from birth and death certificates to supermarket receipts."
A drug artist designs a new piece that is triggered by exposure to audio visual static.
Mona's Candle Light was discovered among reels of film that Geoff Alexander, of the Bay Area-based Academic Film Archive of North America, bought at a flea market in an unmarked box. There are no credits, so it is impossible to determine who shot it and for what purpose. The film is 1950s footage, probably amateur, of a well know lesbian club (which had opened in the 1930s), Mona's Candle Light, and it is an invaluable document of that underground scene. (archive.org)
This symbolic journey evokes the personal creative wandering of the Vasulkas. The landscape, shot from a car window while driving in the Santa Fe area, is gradually transformed with more and more complicated imagery techniques.
Two time-lapse sequences of boats in an estuary, the tide rising and falling.
The footage shown here features a mix of still images, moving images, and short animated clips. The still images are primarily of a woman in various scenarios, from riding a bike to lying nude on a jagged rock formation. The animated scenes throughout the film include black backgrounds with the following items in bright colors and patterns: mushrooms, the phrase Good-by Fat Larry, and a tiny truck. The soundtrack to this film is a folk melody.
Unfolding depicts the gendered space of the launderette as both a site of oppression and possible resistance. “I was interested in making a film about women’s work spaces; the launderette is a functional space, but it is also a place where women meet socially. I got to know the women, took my Bolex (a wind-up camera) and after a while I felt comfortable enough to start filming. It made me aware of the way in which documentaries can be a form of control. On the one hand, it was a straightforward documentary and, on the other, it questioned my role as maker. It took a long time to make and was extremely rigorous.” (Alia Syed)
An urban fairy tale in which three characters negotiate a space where myth and reality constantly collide. Syed uses the character of The Lady of Shallot as the films’ central theme. Interweaving sections of the poem ‘The Lady of Shallot’ by Tennyson, with her own text, the film explores feelings of isolation and the desire to connect.
A London park and artist Chris Welsby runs repeatedly into frame and off into the distance; his actions contrast with the more leisurely activities of others passing by. The camera remained stationary at shooting and a hand-clap to synchronise sound at the start of each take is not edited out. The piece has the appearance of a film loop but it becomes clear that it is a series of different takes.
Gregorio cannot fend for himself, so he is under the care of his family. With no one understanding his true needs, his only option will be to escape into the world of mexican golden era cinema, where he will not only find comfort, but possibly also love.