VIDEONALE: Cracks in the Mirror
Additional screening: 18 September / 17:50 / KINO 42
LIP SYNC 2015
Director: Julia Scher
Country: Germany
Duration: 4
The spirits that I called… In her video work Lip Sync 2015, Julia Scher shines a light on the contradictory feelings that arise in the face of 21st century surveillance – from voluntary posing in front of the camera to the desperate and hopeless attempt to flee back into the private sphere.
INK IN MILK
Director: Gernot Wieland
Country: Australia
Duration: 12
Twelve minutes unfold a whole life: in sketches, metaphor-rich picture sequences, drawings and sculptures, Wieland resurrects the disturbing world of a child, tells of darkness in the light; of the illness schizophrenia. Mixing different materials is a central motif of Wieland’s painting, both as a visual artist and filmmaker.
FREEROAM À REBOURS
Director: Stefan Panhans
Country: Germany
Duration: 16
Stefan Panhans’ Freeroam À Rebours, Mod#I.1 takes as its point of departure various shortcomings in the behavior of videogame avatars controlled by human players. These 'failure scenarios' are transposed onto the bodies of real performers, and recreated in the medium of film. Such 'failed behaviors' by game avatars – including displacement activities, idling behaviors, repeated failures to perform an action, the imperfect approximations of human movements and gestures – are generally considered to be the result of inadequacies and inability, especially in a society shaped by the pressures of functionality, economic imperatives and (self-)optimization.
DEPTH OF FIELD
Directors: Mareike Bernien & Alex Gerbaulet
Country: Germany
Duration: 14
The scene of a crime is still a place. Nuremberg is still Nuremberg, even if National Socialism and the National Socialist Underground (NSU) have cast a dark shadow on the city. In their documentary approach, Bernien and Gerbaulet seek to grasp the complexity of history. They show places connected to the three murders that the NSU committed in Nuremberg between 2000 and 2005 and expand the narrative to include the dimension of the entire complex.
Walls Have Feelings
Director: Eli Cortiñas
Country: Germany
Duration: 13
Walls Have Feelings is a hypnotic montage of cinematographic, photographic and literary references wired together with excerpts from YouTube videos, TV series, advertisements, generic footage, animations, and newly-filmed material. These elements generate a complex constellation of different devices, modes of consumption, reception, and forms of power inherently linked to each other.
Minimal Sway While Starting My Way Up
Director: Stephanie Lagarde
Country: Netherlands
Duration: 16
The work of French artist Stéphanie Lagarde deals with strategies and systems with which to occupy narrative spaces, as well as analyzing who controls these and by which means. The film investigates vertical structures and how territories are claimed and may be reclaimed.
20 років CINEMASIA: Кіно азійської діаспори
🎤 Фільми демонструються мовою оригіналу з англійськими субтитрами
ВИСТУП
Режисер_ка: Клер Чжоу
Країна: Нідерланди
Хронометраж: 20
Коли наближається урочисте святкування Нового року в китайській церкві, співачці хору Лін стає дедалі важче приховувати від громади свою трансгендерну доньку.
НУСА ІНА
Режисер_ка: Анн Ян Сійбрандій
Країна: Нідерланди
Хронометраж: 34
Через понад 60 років після втечі до Нідерландів Лої Тамаела та його родина все ще сподіваються одного дня повернутися на вільну молуккську землю.
Їхні спогади про рідний острів Нуса Іна зміцнюють мрію про захист своєї молуккської ідентичності.
ҐАЯУ
Режисер_ка: Джої Квон
Країна: Бельгія
Хронометраж: 17
Життя Дженніфер та її родини перевертається з ніг на голову, коли у її батька раптово діагностують рак. Чи зможе сім'я Вонґ відкинути свої відмінності культури і поколінь заради здоров'я батька?
20 Years of CINEMASIA: Dutch-Asian shorts
THE PERFORMANCE
Director: Claire Zhou
Country: Netherlands
Duration: 20
When the festive New Year celebration of the Chinese church draws near, it gets ever harder for choir singer Lin to hide her trans daughter from the community, in this short drama.
Nusa Ina
Director: Anne Jan Sijbrandij
Country: Netherlands
Duration: 34
More than 60 years after their flight to the Netherlands, Loey Tamaëla and his family still hope to one day return to a free Moluccan territory.
Their memories of Nusa Ina, the mother island, reinforce a dream of protecting their Moluccan identity.
Gayau
Director: Joey Kwan
Country: Belgium
Duration: 17
Jennifer and her family's life is turned upside down when her father is suddenly diagnosed with cancer. Will the Wong family be able to put aside their cultural and generational differences for the sake of their father's well-being?
BABYLON'13. These 10 years
The Babylon 13 documentary filmmakers have been documenting the events of the Russian-Ukrainian war since 2014, when it was still called the Anti-Terrorist Operation. During this time, more than two hundred short films and more than a dozen feature-length films have been released, covering the widest range of this catastrophe — from the military and social to the cultural and artistic aspects. This anthology is presented in chronological order, starting with the invasion of Crimea by Russian troops. In addition to subjective and aesthetic criteria, the collection was created according to the principle of ‘no more than 10 minutes’ and the priority of military topics. It in no way claims to be exhaustive, but it demonstrates quite eloquently the development and formation of the modern Ukrainian military image. With ups and downs, with tragic and comic elements. So, enjoy, inquisitive viewers.
(Volodymyr Tykhyi, Babylon'13)
Films of the program:
Belbek. How it was
Bacchanalia
Mobilised
Sloviansk. Checkpoint
Our Way
A Combatant
There was a Guy
Not Finished
Right Sector. Voloshka
March 2020
Irpin. Evacuation
The Hunt for Pinocchio
The Last Day at Azovstal
Don Carleone from under Bakhmut
Pilots from the NATO Position
Filmmakers:
Dmytro Starodumov, Andrii Nidzelskyi, Kostiantyn Kliatskin, Yuliia Hontaruk, Yurii Dunai, Yuliia Shashkova, Slava Tsvetkov, Andrii Rohachov, Volodymyr Tykhyi, Yaroslav Pilunskyi, Yurii Gruzynov, Serhii Stetsenko, Ilya Yehorov, Mykhailo Zakutskyi, Andrii Kotliar, Ivan Bannikov, Dmytro Kozatskyi, Ihor Kosenko
ARTIST IN SPOTLIGHT: DANYLO HAUK
Danylo Hauk is a director and screenwriter from Lviv, who has been working in the field of short and documentary films for over ten years.
From 2016 to 2019, he studied in the master's program at the Dodge College of Film and Media Arts in California (USA), where he created four short fiction films and one documentary.
2ANNAS ISFF BEST OF BALTICS: AGAINST THE ODDS
Boars, smells, bodies, very bad haircuts and in the end - wanting to be free. How come we see so many bodily experiences in short films from the Baltics?
This is a diverse collection of shorts from Lithuania, Latvia and Estonia from the last 10 years that cover a small window into the Baltic consciousness and understanding of self.
Curated by Laima Graždanoviča, 2ANNAS ISFF
Artist in Spotlight: Leos Carax
This cinematic essay by Léos Carax, created in a Godardian style, is the director’s self-reflection on his filmography, spanning over four decades. The idea for this short film emerged while working on a project for the Pompidou Center in Paris, which planned an exhibition in the director’s honor that never took place. Trying to answer the question of the curators – “Where are you, Léos Carax?”, – he immersed into the process of self-discovery. The director’s creative search resulted in a vivid cinematic reflection, where his personal story is intertwined with world history, and movie scenes with real life.
Pop Art in Estonian Animation of 1970s
A collection of psychedelic Pop Art influenced animated films made in 1970s Tallinn.
Within the official cinema circles of the Soviet Union, animation was mainly targeted towards toddlers, young children, and teenagers. Here, on the other hand, the artists had clearly used children-oriented cartoons as a means of artistic expression, and experimented with the possibilities of the film medium in general and this created a discrepancy. These selected films appear as fragmented manifestations of post-Second World War youth culture that also filtered into the ‘wrong side’ of the Iron Curtain. (Andreas Trossek)