Selection #4

Photosynthesis (Alchemies of Light)



62 mins
In attendance: Guillaume Mazloum, James Edmonds



“Light is the first corporeal form” stated Robert Grosseteste in his treatise De Luce. A few centuries later, Albert Einstein glossed: “E = mc²”. In the meantime, photography and cinema were born to celebrate the alchemies of light, the mutual transmutations of energy and matter around which this programme revolves. Glaring epiphanies and feeble pulsations in the spectrum, absorbed contemplations and frenetic cascades discover structures and rhythms in the visible. Reanimations and recollections of throbbing bodies, diaphanous and fleeting like leaves, which recur as a motif along the programme, reminding that worshipping the sun and feeding off its power is as ancient as life itself.

T.I.

Fri 24 May

19:30h / ACUD KINO





Jacques Perconte
Or / Our, Budapest
France, 2018, 3' 44'', HD video, colour, sound, German Premiere


À Budapest, sur le Széchenyi Lánchíd, le 25 juin 2018.
Quenched in the Klimt’s gold, the aurora upon Budapest shines of thousand fires. The tiny birds seam to be flying from the firmament and dancing. Immensity and calmness enter indeed in resonance with the fluxes of the Earth. Our entrails, as pulled by the forces of the underground lavas, remind us of the power of patience. The quest for light, the quest for love can begin in the vibrations of this letter of incandescente images, fanned with emotions.


Guillaume Mazloum
D'étranges vues et de joyeux vestiges
France, 2018, 12’, 16mm, colour, silent

PASSWORD : 2020
Accumulation of worried images, which were meticulously manipulated. Those strange views are accompagnied by joyful vestiges, some words gleaned from renowned or dark poets, sometimes even from the enraged walls of the city.
Those proud gleams, those removable faces, those moving bodies, become the elements of a research about vision and gaze, the protagonists of a nascent dialog, the traces of times and places that we still have to observe.


James Edmonds
A Return
Germany, 2018, 16mm, 6', colour, sound, German festival Premiere


To return again. To re-align is the object of these visits, perhaps. Geography of origin becoming catalyst for an inner re-alignment with the secret, private, unspoken work of one’s being. Peering into layers, sliding planes of windows and time, the fragmentary gesture of the dance.
A series of rapid contrasts, a synthesis of elemental and everyday experience.
Structures shift and intermingle, two worlds become one.


Markus Maicher
Blätter im Herbst
Austria, 2018, 16mm > HD video, 3’ 50’’, colour, silent, German Premiere


A breeze gently brushes through the branches, light violently flashes in the cracks of celluloid. It used to be summer, now it is autumn.


Robert Orlowski
From Day to Night

2018, 16mm, 14' 30'', colour, silent, European Premiere


PASSWORD :  sligoriverblues
A song of in-camera improvisations composed to the rhythm of the sun's energy throughout the passage of a day.


Jon Behrens
In the Autumn Before the Winter Comes Man's Last Mad Surge of Youth
2019, 16mm > HD video, 3', colour, sound, European Premiere


This film was made in response to seeing some of Caryn Clines films. Caryn re introduced me to shooting my films outside.


Bruno Delgado Ramo
Reel in Colour #11
2019, 3’ 41’’, Super 8 > HD video, colour, silent, World Premiere


“My memory is a film in colour…”
“Cinema? Yes, it's a method. Blue is also a method. Red is also a method.”
Marcel Broodthaers, Cinéma, p. 66


Dan Browne
Lines of Force
Canada/USA, 2018, 2’, HD video, colour, silent, Berlin Premiere


The law of general relativity states that all matter is condensed energy. In its purest form, energy is light. Perhaps matter cannot go faster than light because what all matter ultimately consists of is light.


Simon Liu
E-Ticket
Hong Kong/UK/USA, 2019, 13', HD video, sound, colour, German Premiere


A film sixteen thousand splices in the making. E-Ticket is a frantic (re)cataloguing of a personal archive and an opportunity for rebirth to forgotten images. 35mm photographs and moving pictures are obsessively cut apart, reshuffled then tape spliced together inch by inch in rigid increments. Views swipe between a school trip to India then culminate with a protest of a 2005 World Trade Organization summit in Hong Kong. My photographs may have all be cut up and mixed around, but at least they’re all in one place now. A retelling of Dante's Inferno for the streaming age; a freedom of movement reserved for the modern cloud.