ANALOGICA SELECTION 9 /// live streaming // program 4 *> PROGRAM 4 /// 56'* *> first screening: April 22 WED <http://airmail.calendar/2020-04-22%2012:00:00%20GMT-7> // 9PM (CET) <http://airmail.calendar/2020-04-22%2012:00:00%20GMT-7>* *> second screening: April 22 WED <http://airmail.calendar/2020-04-22%2012:00:00%20GMT-7> // 7PM (PT) <http://airmail.calendar/2020-04-22%2019:00:00%20GMT-7>*
- 3PM EDT + 10PM EDT - *>STREAMING <https://www.analogica.org/live.html?utm_source=analogica&utm_campaign=69edad9570-EMAIL_CAMPAIGN_2020_04_08_06_15_COPY_02&utm_medium=email&utm_term=0_9f6563cbed-69edad9570->* *Kites at the Kamogawa (for Jonas Mekas)* by Michael Lyons *3' 15'' / 2019 / japan / super8 / exp / no sound* Black kites soar on thermals along the Kamo river in Kyoto. Flags billow. Cacti spin. Plum trees blossom. Pigeons make love atop a clock. Friends chat by the riverside. Filmed February/March 2019 on a single 40 year old cartridge of Kodachrome Super 8 and hand-developed in Caffenol. The film was heavily fogged, but there are some (real) images. *Michael Lyons* (born Thurso, Scotland) is based in Kyoto, Japan. *Princesa morta do Jacuí* by Marcela Ilha Bordin *17' 21'' / Brasil / 2018 / 16mm / fiction* The archaeologist Margot Moreira returns to his place of birth, the exclusion zone called Central Depression, in southern Brazil. There, the sun never stops shining. PRINCESA MORTA DO JACUÍ [Dead Princess of Jacuí] tells the tale of the contemporary adventurer: the one who explores the abandoned landscapes of doomed cities and discovers how nature has reclaimed them. Places that are now graveyards for what was once progress in action. Places that are no longer suitable for humans but that still carry their marks. Shot in 16mm in the now idle rice mill complexes of Cachoeira do Sul, a town that was so rich and prosperous that it was called ‘The princess of Jacuí’. *Marcela Ilha Bordin* has an academic background in Journalism and Literature. As a screenwriter, Marcela has participated in documentaries, TV series, as well as short and feature films. Those include O TETO SOBRE NÓS (The Roof Above Us, 2015), directed by Bruno Carboni, which had its world premiere at 68th Locarno Film Festival and was selected for festivals such as 57th Zinebi Bilbao (Best Latin American Film Award), 48th Gramado Film Festival (Best Director, Best Sound Design), 26th Cine Ceará (Best Film), 17th Festival de Santa Maria da Feira (Special Jury Award), 26th São Paulo International Short Film Festival, 56th Festival Internacional de Cartagena de Indias, among others; and O ACIDENTE (The Accident), also directed by Bruno Carboni, which was selected for ScriptLab 2018 (Torino Film Lab) and is now in the post-production phase. The short film PRINCESA MORTA DO JACUÍ (Dead Princess of Jacui), is Marcela’s debut as a director. *Gibraltar Point (transformed) *by Penny McCann *6' 07'' / 2017/ Canada / 16mm / exp* Erratic flashes of light spark across a flickering expanse of water and sky. The image can't be contained as light and debris spill outside the frame. The random alchemy of handprocessing techniques creates a landscape that transcends the observable, edging into the sublime. Canadian media artist *Penny McCann*'s body of work spans more than twenty-five years and encompasses both dramatic and experimental films and videos. Her work has been exhibited extensively at festivals and galleries nationally and internationally. *Landscape Becoming Landscape* by Pamela Breda *02:49 <http://airmail.calendar/2020-04-22%2002:49:00%20GMT-7> / 2019 / United Kingdom / 16mm / exp* A woman folds some pictures representing natural landscapes and place them into a real lanscape. Fiction and reality blur into each other. *Pamela Breda* is an artist and researcher living between London and New York. Her films have been screened internationally at festivals and art venues such as “Ecra Film Festival” (Rio de Janeiro, BR), Cyprus Contemporary Film Centre (Lefkosia, CY), Pugnant Film Series / Bideodromo film festival, Bilbao (ES), “Revolutions Per Minute Festival” (Boston, USA), “Digital Film Library”, Clermont- Ferrand Film Festival (Clermont-Ferrand, F), Cite Internatinale Des Arts, (Paris, F), “Hazel Eye Film Festival” (Tennesse, USA), “The Bomb Art Factory Film Festival” (London, UK). *Butterfly disaster* by Caryn Cline *6'50'' / 2019 / USA / 16mm / exp* Inspired by a newspaper article about the plight of monarch butterflies, using found footage from four different sources, I edited, optically-printed, superimposed, scratched on, bleached and otherwise altered the film to highlight, lament and challenge the monarch butterflies’ dilemma. *Caryn Cline* is a Seattle-based filmmaker. Her short films have been screened at numerous festivals and venues. She teaches handmade “botanicollage” film workshops and is the co-founder and -curator of the Engauge Experimental Film Festival. *The immortality of the crab* by Giacomo Manzotti *2' 20'' / 2019 / Italy / super8 / exp - animation* "The Immortality of the crab" is an experimental animated short film shot on super 8 film, made with in-camera editing and no post production. In this movie, the synaesthetic research between sound and image is accomplished by connecting the animations, made on 1125 cardboard frames, with an original soundtrack produced using only sounds sampled by handling pieces of cardboard. The title refers to the time spent between the birth of the embryonal idea and the production of the short. "The Immortality of the crab" is a south american expression, almost no longer used, which indicates the act of daydreaming. This film symbolizes the director's release from the spectre of procrastination, a condition he sistematically faced when daydreaming about possible ways to give shape to his idea. *Giacomo Manzotti* is an Italian animator, motion designer and teacher. He likes to work with different animation techinques and started experimenting also with celluloid. He loves to simplify complex things. *Lick Every Drop* by Moira Lacowicz, Leonardo Zito *6' 7'' / 2019 / Argentina / normal8 / footage / exp* In 2015, four 8mm reels with hardcore pornographic films from the 60s were found in the trash. In 2019 we intervened them with sulfuric acid and caustic soda. The emulsion expands and contracts with the bodies, merger with each other until it completely disappears. A duel between the censorship and the explicit. *Moira Lacowicz *(1992) Fraiburgo, SC, Brazil. Lives and works in Buenos Aires, Argentina. Since 2018, explores the possibilities of analog cinema through alternative processes. Her movies have been screened in Brazil, Argentina, Peru, Colombia, Japan, United States, Canada, Italy, India, Romania, among others, *Leonardo Zito* (1989) Adrogue, GBA. Argentina. Audiovisual producer in multiple formats. Since 2015 he teaches the Direct Intervention Workshop on Super 8. Creative director of PlomoEnSangre, alternative company. His films have been screened in Japan, India, USA, Spain, France, Italy and all over Latin America. *The Philosophy of Horror (Part I): Etimology* by Péter Lichter, Bori Máté *8:00 <http://airmail.calendar/2020-04-22%2020:00:00%20GMT-7> / 2019 / Hungary / 35mm / exp* The Philosophy of Horror is a seven-part abstract adaptation of Noël Carroll’s influential film theoretical book of the same title (published in 1990), which is a close examination of the horror genre. Our film uses hand painted and decayed 35mm film strips of the classic slasher movie A Nightmare on Elm Street (Wes Craven, 1984) and its sequel A Nightmare on Elm Street 2: Freddy's Revenge (1985). *Péter Lichter* is an experimental filmmaker. He publicated two poetry books at the age of 16 and 20. He studied film history and film theory at the ELTE University, Budapest. He writes his PhD-thesis about the relationship of american avante-garde cinema and the science-fiction movies. Peter makes short, found-footage, abstract experimentals and lyrical documentaries since 2002. His films were screened at festivals and venues like: Tribeca Film Festival - New York; Rotterdam IFF; Oberhausen Film Festival; Cinema 16 - New York; EXiS - Seoul; VideoEX - Zurich; MisALT – San Francisco; MIA - Los Angeles; Angers Premier Plans; Klex – Kuala Lumpur; Director Lounge – Berlin; Hungarian Film Week, etc. He is also one of the editors of the Prizma film-periodical. Peter frequently collaborates with composer Ádám Márton Horváth. www.analogica.org/live <https://www.analogica.org/live.html?utm_source=analogica&utm_campaign=69edad9570-EMAIL_CAMPAIGN_2020_04_08_06_15_COPY_02&utm_medium=email&utm_term=0_9f6563cbed-69edad9570-> ---------------------------------------------------------- ANALOGICA 10 // SUBMIT YOUR FILM <https://www.analogica.org/submission2020.html?utm_source=analogica&utm_campaign=69edad9570-EMAIL_CAMPAIGN_2020_04_08_06_15_COPY_02&utm_medium=email&utm_term=0_9f6563cbed-69edad9570-> ---------------------------------------------------------- SUPPORT ANALOGICA! <https://www.paypal.com/donate/?token=FMyRUWABSuQyWD6Nj5HXlK_6Q9YNMJfx4slunHIQM4ptfrxeFZftX6d8u1nUsg1NKdpOuW&country.x=IT&locale.x=IT&utm_source=analogica&utm_campaign=69edad9570-EMAIL_CAMPAIGN_2020_04_08_06_15_COPY_02&utm_medium=email&utm_term=0_9f6563cbed-69edad9570->
_______________________________________________ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
