This session focuses exclusively on twenty films by the San Francisco filmmaker Michael Rudnick. His work, practically unseen in Europe, combines visual art in movement, kinetic sculpture and trompe l'oeil. With their small, enigmatic but audacious gestures, both tender and festive, his films return to the infancy of art.
A tribute afternoon in memory of Shirouyasu Suzuki, to celebrate his work in almost half a century behind the camera and to reconnect with the films made by his son Nonoho Suzuki and his son's wife Yuri Muraoka.
The future cannot be predicted, but that is no reason not to try experimental film: reflections on 16mm, video and in 3D about the experience of time, the play with expectations and the desire to “see in a new way” develop. 'No Future' is dedicated to various facets of the future from the 1920s to the present 2020s.
Program curated by Karola Gramann, Heide Schlüpmann and Björn Schmitt. As part of the 17th LICHTER Filmfest
The 2024 edition of Peripheries Experimental Film & Video Festival, hosted at Sweet Void Cinema in Chicago, Illinois, is a yearly, non-competitive experimental showcase, which serves to highlight contemporary and historical works of experimental film, both domestic and international.
Submissions are gathered via FilmFreeway or a submission form via the Sweet Void Cinema website (Sweetvoidcinema.com). The deadline for submission is June 21, 2024 with the festival taking place in late July.
Celluloidra Revolverrel is a scientific and artistic grassroots platform that aims to organise contemporary Hungarian experimental filmmaking.
In August of 2024, Celluloidra Revolverrel is organising a complex experimental film expo at the Kaleidoscope House in Esztergom, Hungary. The exact date and program will be announced after the application deadline.
The event will consist of three interconnected activities (film festival – academic conference – workshops), for which the applications are open until 17.07.2024.
In early 2024, Space Cell invited Richard Touhy & Dianna Barrie (Nanolab, Australia) to do the first Kineko workshop. Due to the increase in the price of film and the disappearance of professional laboratories, Korean filmmakers are having difficulty carrying out their projects on film. In particular, the printing of the final 16mm projection copy, after filming, editing and sound processing, has become a very difficult phase in terms of time and financing. To solve these problems, we plan to develop tools to make a less expensive original copy.
