London Film Festival 2010

Date: 23 October 2010 | Season: London Film Festival 2010 | Tags:

23—24 October 2010

London BFI Southbank

The EXPERIMENTA WEEKEND is a rare opportunity to experience artist’s film and video within the concentrated space of the cinema. This annual survey brings together works that acknowledge a tradition of avant-garde filmmaking while taking us forward into the expanded field of contemporary moving image.

Victor Alimpiev, Thom Andersen, Martin Arnold, Daniel Barrow, Neil Beloufa, Duncan Campbell, Thomas Comerford, Nathaniel Dorsky, Erin Espelie, David Gatten, Janie Geiser, Inger Lise Hansen, Lawrence Jordan, Richard Kerr, Lewis Klahr, Alexi Manis, Rebecca Meyers, Miranda Pennell, Samantha Rebello, Emily Richardson, Ben Rivers & Paul Harnden, John Smith, Phil Solomon, Peter Tscherkassky, Timoleon Wilkins.

Eight curated programmes demonstrate the breadth and diversity of short-form practice and include works by Nathaniel Dorsky, Miranda Pennell, Ben Rivers, Peter Tscherkassky. Featured artist Lewis Klahr will introduce his evocative cut-out animations and Daniel Barrow performs live. Two installations by Emily Richardson and Martin Arnold, each memorialising very different cinematic institutions, will be shown continuously for one day each. An additional event at the Natural History Museum explores the legacy of Darwin and the Galapagos through a new film by David Gatten.

The EXPERIMENTA WEEKEND is curated by Mark Webber, with assistance from Melissa Gronlund.

Due to the popularity of the Experimenta Weekend over the past few years, we are introducing repeat screenings. Rather perversely, some of these additional screenings will take place before the weekend. Outside the weekend programme, the Festival’s Experimenta strand also includes features by John Akomfrah, James Benning, John Gianvito, Li Hongqui, Sharon Lockhart, and Ben Russell.

The Futurist

Date: 23 October 2010 | Season: London Film Festival 2010 | Tags:

Saturday 23 October 2010, from 12-7pm
London BFI Southbank Studio

Illuminated by the light of the projector, the interior of a large, 1920s picture house is documented from a central position in the stalls. Emily Richardson’s films record impressions of environments ranging from natural landscapes to industrial or urban spaces. The Futurist is the first of a series in homage to the cinema experience.

Emily Richardson, UK, 2010, video, colour, sound, 4 min (continuous loop)
The Futurist Cinema, Scarborough, is threatened with closure. This 2000 seat cinema and theatre is a pre-digital relic that needs to be recorded before it is potentially erased from memory. As independent cinemas struggle to find funding to make the switch from 35mm to digital projection systems I felt I wanted to make a series of films in homage to film and the cinema experience. The Futurist is a condensed experience of film viewing, a single 360 degree animated shot of a feature film projection in an empty 1920s cinema, where the sound becomes a cacophony of past projections and the aural experience is closer to that of the projectionist than the audience. (Emily Richardson)

Co-commissioned by Lumen and imove, Yorkshire’s Legacy Trust programme. Funded by Legacy Trust UK, Arts Council and Yorkshire Forward. With thanks to Andrew Nesbit and Colin Bainbridge, The Futurist, Scarborough.

Emily Richardson’s films explore landscapes and environments to reveal the way that activity, movement and light is inscribed in place. They focus the mind and eye to detail, finding transcendence and emotion in the everyday. ‘Time Frames’, a book on her work, is published by Stour Valley Arts, and a DVD featuring six of her films is available from LUX.

Reading Between the Lines

Date: 23 October 2010 | Season: London Film Festival 2010 | Tags:

Saturday 23 October 2010, at 2pm
London BFI Southbank NFT3

Thomas Comerford, The Indian Boundary Line, USA, 2010, 42 min
Comerford’s essay maps a historical demarcation which originally divided Native American land from that which was ceded to white settlers in 1812. Modern life has obscured the traces of this history in the Rogers Park district of Chicago. Juxtaposing past with present, footage shot along this formerly disputed territory is matched with readings from official documents, fiction and quotidian accounts.

John Smith, Flag Mountain, UK, 2010, 8 min
A view across the city of Nicosia, over the Green Line border, to an unusual spectacle on a hillside. Lives continue in its shadow, amongst the contrasting flags, anthems and calls to prayer.

Miranda Pennell, Why Colonel Bunny Was Killed, UK, 2010, 27 min
An exploration of turn of the century colonial life along the Durand Line, the frontier between Afghanistan and British India (now Pakistan). Remarkable period photographs are closely analysed as we listen to reports of exchanges between westerners, natives and mullahs written by missionary doctor TL Pennell.

Also Screening: Monday 25 October 2010, at 2pm, NFT3


Sublime Passages

Date: 23 October 2010 | Season: London Film Festival 2010 | Tags:

Saturday 23 October 2010, at 4pm
London BFI Southbank NFT3

Alexi Manis, Shutter, Canada, 2010, 8 min
Shutter suggests the uncanny atmosphere and changing light on the day of a total eclipse.

Timoleon Wilkins, Drifter, USA, 1996-2010, 24 min
Fragments of the filmmaker’s life, home and travels, recorded over a 14-year period. “The glories of atmospheric light and colour, inward soul-drifting, and the literal sensation of drifting within and through each shot and cut.” (TW)

David Gatten, Shrimp Boat Log, USA, 2010, 6 min
“300 shots, 29 frames each, alternating between a notebook listing the names of shrimp boats that frequent the mouth of the Edisto River and images of these same boats.” (DG)

Rebecca Meyers, Blue Mantle, USA, 2010, 35 min
Blending 19th century American literature with factual accounts, illustrations and music by Debussy and Wagner, this oblique portrait of a shipwrecked coastline conveys the vastness and majesty of the ocean. A song to the sea, and a commemoration of those who have risked their lives off the treacherous Massachusetts shore.

Inger Lise Hansen, Travelling Fields, Norway, 2009, 9 min
In the third film of her ‘inverted perspective’ trilogy, Hansen turns her camera on the North West Russia, creating monumental and uncanny vistas from these barren wastelands.

Also Screening: Friday 22 October 2010, at 4:15pm, NFT3


Every Time I See Your Picture I Cry

Date: 23 October 2010 | Season: London Film Festival 2010 | Tags:

Saturday 23 October 2010, at 7pm
London BFI Southbank NFT3

EVERY TIME I SEE YOUR PICTURE I CRY: A Live Performance by Daniel Barrow

Daniel Barrow has developed an intimate mode of ‘manual animation’ using the antiquated technology of an overhead projector. From a position amongst the audience, he recites live narration while manipulating layers of transparencies in continuous motion. Accentuated by interference patterns and sleight-of-hand trickery, Barrow’s hand-drawn images contrive an absorbing tale of comic book grotesques. EVERY TIME I SEE YOUR PICTURE I CRY is a bizarre confessional detailing the grand but hopeless scheme of an estranged garbage collector and failed art student. Unloved and rejected by society, the protagonist begins a universal art project in the form of a telephone directory of ‘profound and intimate insights’ to chronicle the lives of those around him. As he snoops through the windows and waste bins of fellow citizens, his survey is rendered futile by a maniacal killer who follows in his wake, picking off subjects one by one. Invoking introspection, pathos and dark humour, this award winning performance piece is accompanied by an unassuming Beach Boys-inflected score recorded by Amy Linton of The Aislers Set.

Daniel Barrow, Every Time I See Your Picture I Cry, Canada, 2008, 60 min


Hit the Road

Date: 23 October 2010 | Season: London Film Festival 2010 | Tags:

Saturday 23 October 2010, at 9pm
London BFI Southbank NFT3

Duncan Campbell, Make It New John, UK, 2009, 50 min
The story of the DeLorean car and its notorious entrepreneur’s Northern Ireland venture, assembled from found and reconstructed footage. During a momentous period in the province’s history, the manufacture of this futuristic vehicle was beset by its own troubles – governmental pacts, an inexperienced workforce and allegations of misconduct. This insightful film, with its Pinteresque finale concerning the plight of the workers, raises questions on documentary form and the representation of historical events.

Thom Andersen, Get Out of the Car, USA, 2010, 34 min
Andersen’s latest homage to Los Angeles takes time to stop and consider the temporary architecture of roadside billboards, community murals and hand-painted signs. A movie about the ephemeral sights of the city, with a rocking soundtrack of local music and the confused interjections of passers-by.

Also Screening: Tuesday 26 October 2010, at 2pm, NFT3


Shadow Cuts

Date: 24 October 2010 | Season: London Film Festival 2010 | Tags:

Sunday 24 October 2010, from 12-7pm
London BFI Southbank Studio

Alternately consumed by darkness and blinded by the light, Mickey and Pluto are caught in an eternal embrace by a film that refuses to end. In his films and digital works, Martin Arnold uses intense repetition or subtle substitution to reveal subliminal nuances beneath the surface of pre-existing footage.

Martin Arnold, Austria, 2010, video, colour, sound, 4 min (continuous loop)
Shadow Cuts observes the happy end of a cartoon film by rewinding it. Depicted by flickering images, the eyes of Mickey and his companion Pluto are gradually getting disentangled from the characters, sometimes the eyes – or the characters – even disappear completely. Temporary blind characters on the screen are faced by temporary blind viewers, whose perception fractures in the dark phases of the projection. (Martin Arnold)

Martin Arnold achieved international recognition with a trilogy of 16mm films including pièce touchée (1989), passage á l’acte (1993) and Alone. Life Wastes Andy Hardy (1998). In recent years, he has produced and directed film installations in digital formats, such as Deanimated – The Invisible Ghost (2002), Silent Winds (2005) or Coverversion (2008). Martin Arnold is represented by Galerie Martin Janda, Vienna, and his films are distributed by Sixpackfilm and Lightcone.

Three Films by Nathaniel Dorsky

Date: 24 October 2010 | Season: London Film Festival 2010 | Tags:

Sunday 24 October 2010, at 2pm
London BFI Southbank NFT3

Nathaniel Dorsky finds moments of profound beauty among the shadows, reflections and luminosity of city life and the natural world. His open form of filmmaking creates a space for the viewer’s contemplation amidst the subtle and astonishing images which radiate from the screen. This programme presents two new films together with a recent preservation of a formative early work.

Nathaniel Dorsky, Compline, USA, 2009, 19 min
COMPLINE is a night devotion or prayer, the last of the canonical hours, the final act in a cycle. It is the last film I will be able to shoot in Kodachrome; a loving duet with and a fond farewell to this noble emulsion.” (ND)

Nathaniel Dorsky, Aubade, USA, 2010, 12 min
“An aubade is a morning song or poem evoking the first rays of the sun at daybreak. In some sense, it is a new beginning for me.” (ND)

Nathaniel Dorsky, Hours for Jerome, USA, 1966-70/82, 45 min
“An arrangement of images, energies, and illuminations from daily life. These fragments of light revolve around the four seasons and are very much a part of the youthful energy and poignant joy of my mid-20s. In medieval European Catholicism, a ‘Book of Hours’ was a series of prayers presented eight times every 24 hours. Each ‘hour’ had its own qualities, from pre-dawn till very late at night, and these qualities also changed through the progressing seasons of the year.” (ND)

Hours for Jerome has been preserved by Pacific Film Archive with support from the National Film Preservation Foundation.


Lewis Klahr Presents Prolix Satori

Date: 24 October 2010 | Season: London Film Festival 2010 | Tags:

Sunday 24 October 2010, at 4pm
London BFI Southbank NFT3

Collage artist Lewis Klahr introduces PROLIX SATORI, an ongoing series which appropriates images from comics, magazines and catalogues. A filmmaker since the 1980s, his signature style is saturated in mid-century Americana but addresses universal experience and is resolutely contemporary. Retaining distinctive handcrafted qualities across a recent shift to digital, Klahr choreographs comic book characters in fractured landscapes of patterns, textures and architectural details. Going beyond abstraction and nostalgic cliché, he builds high melodrama from modest means, conjuring elliptical narratives that evoke complex moods and emotions. Within PROLIX SATORI, a new project of ‘couplets’ elicits different atmospheres through repetitions of soundtracks or imagery. An emotive mix of classical, easy listening and iconic pop music carries viewers through tales of lost love and wistful reverie. This screening is a chance to be immersed in the idiosyncratic world of a widely acclaimed artist making his first UK appearance.

Lewis Klahr, False Aging, USA, 2008, 15 min
Lewis Klahr, Nimbus Smile, USA, 2009, 8 min
Lewis Klahr, Nimbus Seeds, USA, 2009, 8 min
Lewis Klahr, Cumulonimbus, USA, 2010, 10 min
Lewis Klahr, Sugar Slim Says, USA, 2010, 7 min
Lewis Klahr, Wednesday Morning Two A.M., USA, 2009, 7 min
Lewis Klahr, Lethe, USA, 2009, 23 min

Also Screening: Thursday 21 October 2010, at 4:15pm, NFT3

Lewis Klahr will present a screening of his early films at Tate Modern on Monday 25 October.


Break on Through

Date: 24 October 2010 | Season: London Film Festival 2010 | Tags:

Sunday 24 October 2010, at 7pm
London BFI Southbank NFT3

Janie Geiser, Ghost Algebra, USA, 2009, 8 min
“Under erratic skies, a solitary figure navigates a landscape of constructed nature and broken bones. She peers through a decaying aperture, waiting and watching: the fragility of the body is exposed for what it is: ephemeral, liquid, a battlefield of nervous dreams.” (JG)

Phil Solomon, Still Raining, Still Dreaming, USA, 2009, 15 min
Videogaming was never meant to be this way: uncanny and elegiac in tone, poignant and considered in practice. By betraying the violent subtext of his source material, Solomon has found genuine poetry in the desolate spaces of digitally constructed worlds.

David Gatten, So Sure of Nowhere Buying Times to Come, USA, 2010, 9 min
The windows of a small antique store in the Rocky Mountains displays carefully arranged curiosities – specific objects each with their attendant histories. Visible traces of past uses, previous lives, secrets and significance.

Samantha Rebello, Forms Are Not Self-Subsistent Substances, UK, 2010, 22 min
Words, concepts, things. Referencing Aristotle and illuminated manuscripts, Rebello asks ‘What is substance?’ Romanesque stone carvings are measured against latter-day beasts, seeking parity between medieval perception and a present-day embodiment.

Erin Espelie, Facts Told at Retail, After Henry James), USA, 2010, 9 min
“The author of The Golden Bowl acts as the confessed agent, and the glass through which every image is reflected or filtered takes on a kind of consciousness.” (EE)

Lawrence Jordan, Cosmic Alchemy, USA, 2010, 24 min
A voyage in the celestial realm, out beyond consciousness, steered by a master of mystical transformation. Wondrous visions are charted on star maps from the Harmonia Macrocosmica to a spellbinding drone track by John Davis.

Also Screening: Tuesday 26 October 2010, at 4:15pm, NFT3