<\/p>\n
LEWIS KLAHR PRESENTS PROLIX SATORI
\n<\/strong>Sunday 24 October 2010, at 4pm
\nLondon BFI Southbank NFT3<\/p>\nThis screening marks the UK premier of my new series Prolix Satori<\/em>. I have often worked in series before \u2013 Daylight Moon (A Quartet)<\/em>, Tales of the Forgotten Future<\/em>, Engram Sepals (Melodramas 1994-2000)<\/em>, The Two Minutes to Zero Trilogy<\/em> \u2013 but never quite like this. The main difference is that Prolix Satori<\/em> is both open ended and ongoing, with a variety of thematic focuses instead of a single, centralized one. As the series title suggests, it will include films that are very, very short (under a minute) and films that are feature length. Prolix Satori<\/em> will also act as an umbrella for various sub-series: this program offers five films from The Couplets<\/em> (Wednesday Morning Two A.M.<\/em>, Sugar Slim Says<\/em> and all three Nimbus<\/em> films). The Couplets<\/em> will generally, but not exclusively, organize themselves around the pairing of various pop songs and, just as in the songs\u2019 lyrics, the theme of romantic love. (Lewis Klahr)<\/p>\nFALSE AGING
\nLewis Klahr, USA, 2008, video, colour, sound, 15 min
\n<\/strong>False Aging <\/em>is a haunting, evocative, expertly crafted film by Lewis Klahr, using his signature style of animation made with cut-out figures, often from comic books and other nostalgic sources, and a great variety of small objects such as plastic ice cubes and trading stamps. The physical movement in the film, with individual cut-out figures moving in and out of the frame awkwardly, in a crude form of animation, effectively recreates the feeling of daydreaming, or the way one would mull through one\u2019s deepest, least expressible emotional jumbles just before falling asleep. The fact that the imagery is not directly interpretable, not clearly and readily translatable into easily explained symbolism, yet every image in every frame clearly is a swirling vortex of powerful associations, is what gives this (and Klahr\u2019s other films) their peculiar and transcendent power and beauty: they take you on a journey into a strange, powerful and beautiful place, without telling you where you are going or what you will find there, and so they open up many doors into hidden pavilions of feeling, without locking you into an overly narrow and intellectualized explanation of what you are seeing. (David Finkelstein)<\/p>\nNIMBUS SMILE
\nLewis Klahr, USA, 2009, video, colour, sound, 8 min
\n<\/strong>NIMBUS SEEDS
\nLewis Klahr, USA, 2009, video, colour, sound, 8 min
\n<\/strong>CUMULONIMBUS
\nLewis Klahr, USA, 2010, video, colour, sound, 10 min
\n<\/strong>In this grouping of three related videos on the subject of romantic triangles, Klahr expands his explorations of memory, love, repetition, narrative and loss in surprising new ways until the films build into complex emotional and artistic experiences. His approach to inter-film montage (the interconnected relationship of different films to each other) reaches its fullest expression with these new works. Three romantic entanglements play out in the three Nimbus videos, which extend Klahr\u2019s interest in constructing almost legible narratives \u2013 but doing so in formalist terms that complicate and enhance the traditional pleasures of stories. The trilogy\u2019s closer, Cumulonimbus<\/em>, is a movingly mature account of grief with a puckish sting in its tail. (Chris Stults)<\/p>\nSUGAR SLIM SAYS
\nLewis Klahr, USA, 2010, video, colour, sound, 7 min
\n<\/strong>Same address, different buildings. \u2018Put the rope in the can.\u2019 Mark Anthony Thompson (aka Chocolate Genius) and I became friends because our sons were classmates. He played me his new album and I showed him some of my recent films and we got excited about collaborating. This is the result. He gave free reign to create a piece coupled with two tracks together: \u2018Lump\u2019 and \u2018Hold Me Like A Nurse\u2019. (Lewis Klahr)<\/p>\nWEDNESDAY MORNING TWO A.M.
\nLewis Klahr, USA, 2009, video, colour, sound, 7 min
\n<\/strong>An intimate and poetic study of the darkness of love and the beauty of texture. Wednesday Morning Two A.M.<\/em> combines figurative realism with pure abstraction to remind us of the value of the small and the handmade. (Tiger Award Jury Statement, International Film Festival Rotterdam)<\/p>\nLETHE
\nLewis Klahr, USA, 2009, video, colour, sound, 23 min
\n<\/strong>One of Klahr\u2019s longest films, and one of his most straightforward narrative melodramas, Lethe<\/em> conjures up the full emotional spectrum and storytelling potential of a film by Vincente Minnelli or Douglas Sirk, even though the only sets and actors are cut-out pieces of paper brought to life by Klahr\u2019s imagination and storytelling abilities. Without sacrificing his signature forms of poetic abstraction and uncanny imagery, Klahr tells a tale ripped out of a pulp novel. An older scientist devises a way to win the love of a beautiful younger woman, and the film deals with the psychic fallout that this relationship rains on the woman. (Chris Stults)<\/p>\nBack to top<\/a><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"
Alina Rudnitskaya\u2019s humanistic approach to documentary filmmaking often brings out the humour in her chosen subjects. As an introduction to her work, this programme depicts three diverse groups of contemporary Russian women.<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[59],"tags":[9],"class_list":["post-1610","post","type-post","status-publish","format-standard","hentry","category-london-film-festival-2010","tag-london-film-festival"],"_links":{"self":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/1610","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/comments?post=1610"}],"version-history":[{"count":0,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/1610\/revisions"}],"wp:attachment":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/media?parent=1610"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/categories?post=1610"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/tags?post=1610"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}