August 3, 2010
It is important when discussing experimenta and avant-garde modes of cinema to remember that one of its most significant and defining qualities is that it necessarily situates itself outside of, though still in conversation with, its “mainstream” counterpart. This year’s MIFF selection of Experimental Shorts was in many ways a typical, “balanced” program of its kind. What I mean by that is not necessarily negative, rather that the programming team clearly took into account that a relative portion of its audience might well be approaching experimenta from a “first time” perspective and, as such, the program includes a carefully considered breadth of experimental filmmaking.
Flyscreen (2010) / Richard Tuohy / Australia /8 min.
Working with 16mm film using the rayogram technique and optical sound, Richard Tuohy (part of the Artist Film Workshop) creates a successfully claustrophobic and atmospheric work. The flyscreens themselves simile the individual frames that make up the moving image and the optical sound of the screens emulate both the buzzing of an actual fly and the low drone of a film projector. It’s refreshing and exciting to see that there are still filmmakers out there who care about and are interested in experimenting with actual film.
Friedl vom Groller (2009) / Austria / 8 min.
Passage Briare: A silent, black and white document of a middle-aged heterosexual couple reveals the simplistic beauty behind the human experience of (an)other.
Hen Night: A group of six women staring at the camera represent the reflected artifice and construction that appear in cinema and everyday life alike.
Wedding: A naked couple sit by one another facing the camera in what is shown to be a moment of “honesty”, transcending “seemlessness”. Simple yet beautiful.
Kitchen Horror (2009) / David Short / Australia / 4 min.
Using science and mathematics to inform its representation of the horrors hidden within a typically domestic space, Kitchen Horror is most interesting for its use of sound in illuminating the extraction of spacial ideological anomalies.
Palm D’Or (2009) / Siegfried A Fruhauf / Austria / 9 min.
The blurring of a fractured, fragmented crowd of people and places set to a sort of “white noise” soundtrack disorient and remove the viewer from a process of identification with the subject in this well executed black and white short.
Parallax (2009) / Inger Lise Hansen / Austria & Norway / 5 min.
A simply yet cleverly inverted image shows how the earth struggles to achieve its “natural movement”; suffering under the unnatural weight of human industry.
The Quick Brown Fox Jumps Over the Lazy Dog (2009) / Johann Lurf / Austria / 3 min.
Through framing film frame and showing sound, Lurf confronts his viewer with the very nature of the object they are viewing.
Long Live the New Flesh (2009) / Nicolas Provost / Belgium / 14 min.
Using CGI (computer generated imaging) to alter and enhance visceral sequences from famous horror films, Provost creates a new texture – or “flesh” – for the image. From conventional suspense horrors such as The Shining (1980) and Drag Me to Hell (2009) to Cronenberg body-horrors like Videodrome (1983) and The Fly (1986), Provost takes an experimental art form and makes it both contemporary and accessible to wider audiences. Although some of the images are quite beautiful the medium itself is disappointng; pixelation and computerised sound ultimately render it more like to a computer game than “film”.
Flag Mountain (2010) / John Smith / UK / 8 min.
Presenting a strong image of a liminal border space, Flag Mountain looks at a literal and ideological imprinting of nationhood upon the physical landscape.
Strips (2010) / Felix Dufour / Canada / 6 min.
Segmenting the image into “strips” we watch a woman “strip”. The cutting up of the woman and the image hark back to Laura Mulvey’s seminal article “Visual Pleasure and Narrative Cinema”. Nothing new, but effective nonetheless.
Still in Cosmos (2009) / Makino Takashi / Japan / 19 min.
Matched to a soundtrack by Jim O’Rourke, Still in Cosmos shows scratched and deteriorating images that reflect the universe. Distorting the original photography it slowly reveals glimpses of nature and straddles the boundary between a Kantian understanding of beauty and the sublime.
Finally, whilst the program could be described as Austrian-heavy (hardly surprising when Austria is where pretty much most of the most interesting and cutting edge experimenta comes from), what was (pleasantly) surprising for me was to see Australian experimenta not only feature but contend in such an established program.