You Don't Bring Me Flowers

Tomad nuestra voz en vuestras gargantas

Seoane

As the earth closes its final chapter, two women are forced to reconcile with their emotional identities.

"In factories, everyone has their place. Western industrial production is a site of magical thinking: an old history that will never return, an idealized construction that never really was. It's impossible to know what the true costs would be if it were to return - societal, environmental, and psychological – and yet, entire political campaigns are built around this. This piece speculates on re-industrialization, and is a sequel to my 2013 video, Safety First (Bad, Don’t Touch, Mercy!). Like its prequel, it posits a non-specific future populated by female factory workers. The geometric aesthetics of power and the romance of industrial-era alienation, are paired with theoretical and fictional texts about alternate social economies. Video footage was shot in Ohio, animation and soundtrack by the artist. Voiceover text sources include Industrial supply catalogs, OSHA safety manuals, Monique Wittig’s Les Guerilleres, and Adorno’s Minima Moralia." -Taken from Jen Liu's Vimeo page.

The film consists of three sequences shot by a fixed camera: the first shows the balcony of a hospital with patients (soundtrack from the film "Vivre sa vie" by Jean-Luc Godard), the second is a scraped wall and the third is a crossroad with pedestrians and cars (sound taken from the film "The Time-Machine " by George Pal).

Combining documentary with experimental video, "Grace Period" documents the activities of female sex workers in the Yeongdeungpo red-light district in Seoul, South Korea. Facing constant police crackdowns and the threat of permanent closure following the opening of a massive shopping complex adjacent to their workplaces, the women of Yeongdeungpo band together in protest. Archival footage, mostly shot by the women themselves, shows their collective efforts as they organize with other sex workers from brothels across the country. In creative and daring acts of resistance, they launch a series of demonstrations that trace a lineage to Korea's democratic union movements of the 1980s-- denouncing the government and corporate interests, demanding decriminalization, and declaring their rights as workers.

In the blink of an eye perception shifts, opening up opportunities to explore and fluidly move between waking and dreaming realities. Shot in the hills of Brown County, Indiana on Super 8 and edited digitally, Attention to Detail Guides the Dreamer explores a recursive, deepening process that eradicates reliance on form and structure, expands space, and invites viewers to heighten their awareness of the multi-layered nature of reality.

"During the invitation to a film festival in Thessaloniki, Greece, where I presented the Cinématon and my feature film Blue Heart (which won a prize), I filmed the daily life of the city. The seafront, the university and the city where I was staying."

Diwan, a lyric anthology, an outdoor movie with people. With people living in the surrounding precious and very beautifully photographed nature, are neither more nor less than one part of it. What Nekes manages there with landscape, as a cunning and quote many fine artist in a medium that runs in time, as he defeated the time changed, by themselves for change of scenery uses, as it interferes with the laws of chronology through the rewind ability of the camera or destroyed, which is a compelling and highly aesthetic experimental company.

First film by Julio Bressane shot in exile, "Memoirs" is a film about a man who repeatedly kills the same type of woman in same places, the same way. Filmed on the streets of London.

Bressane's second London film, shot in six days in his apartment. "I had seen the French avant-garde films of the 1920's and naturally the title cites Breton. But underneath it can also be read in many ways. It is a cinema that is invented on the spur of the moment, like you invent an instrument to play music and then abandon it. This film came out like an improvisation, a total risk. It is a deconstruction of meaning but not in the analytical, intellectual sense. I have always tried to lose myself with my films. There is no trace of American or French underground cinema. If anything, it is the idea of home movies, there were many ideas for digital films long before digital film existed. This film made itself, it was like a jazz improvisation. Amor Louco is a lost object, it doesn't speak any language, it has no signs, no letters, no captions. And in the scene where the cataract is cut with the razor blade, it was the adventure of the film itself that was put to the test".

The mutating forms of Tensai Banpaku, or “Genius Expo” create a stunning abstract orchestra.

Two women – one passive and resigned, the other aggressive and domineering – interact in various locations in New York city. The film explores the dynamic between them before ending with a showdown at the roller-coaster on Coney Island.

Multi-faceted artist Phil Niblock captures a brief moment of an interstellar communication by the Arkestra in their prime. Black turns white in a so-called negative post-process, while Niblock's camera focuses on microscopic details of hands, bodies and instruments. A brilliant tribute to the Sun King by another brilliant supra-planetary sovereign. (Eye of Sound)

Petek is very versatile and is experimenting with all possible formats, the Zagreb film school of animation-influenced parts, the quasi SF childish games, the color splashes, the psychedelic timbres, the pop art/ collage experiments and a swirl of other 60s gestures.

Experimental film by Ivan Martinac.

Old cinema creates new cinema in a new context. Stolen old images, someone’s audio track, someone else’s soundscapes – they re-create, reinventing interactions, relations and dialogue in familiar footage. Telling new stories. Transforming it back into cinema.

The lovers travel as if magical cosmic twins; but their earthbound existence induces recurring distraction, ill health, and indifference. Resolution comes, but it too is multiply doubled.

Ian Haig’s The Foaming Node essays the discovery and emergence of new bodily organs in meticulous and captivating detail. We follow the last remaining observers, members of a cult of sorts, who have experienced both the transmissions of The Foaming Node, and their own personal and strange bodily transformations. They discuss exactly how the changes associated with The Foaming Node have affected them, telling fascinating, visceral, detailed tales that reach beyond science, alternative medicine, and corporeality.

In 2013, Lei Lei and Thomas Sauvin collected numbers of black-and-white photos from Chinese flea markets and imagined that all of them belonged to one fictional Chinese person. Through rendering, collage, and a cyclical process of hand coloring, scanning, and printing, connections among the photos were created.