SATURDAY 29 Feb. 2020
Panjika Cooperative, Leonidion, Arcadia
At the foot of mount Parnon, in the international rock climbing destination of Leonidion, Arcadia, Balkan Can Kino will be presenting a selection of experimental films at the alternative cooperative café and climbers’ meeting point Panjika.
The selection consists of 8 films and lasts 59 minutes: it includes works that explore in a wholly original way the relationship between audiovisual creation and the natural landscape, as either a source of inspiration or a film location. The selected works belong to a vast range of genres and categories, from documentary film to video-performance. It will be presented during “The Martian Chronicles Residency” organized by LatoMeio Project, where BCK members Evi Stamou and Pietro Radin will be participating as guest film curators.
1. Ιnvisible Mountains (14’00’’), Dir. Aliénor Vallet, France/Bolivia, 2017
An image appears and leads us in a trip at the boundaries of reality and invisible…
Invisible mountains relates an uncertain trip through the Andes suggesting a reflection on the look and the image as perception, construction, imagination and memory of space and time. In this essay inspired by the book Invisible cities by Italo Calvino, the doubted reality questions the dimension of the visible and the invisible and the relation between the viewer and the image.
2. Circulacion en la corteza (6’17’’), Dir. Francisco Alvarez Rio, Ecuador, 2018
La enarbolada quietud respira
en el camino que el ser desdibuja.
mi rostro cae como una hoja.
The elevated stillness breathes
on the path that being fades.
my face falls like a leaf.
3. Glacies (8’00’’), Dir. Pierre Villemin, France, 2017
As old paintings, landscapes are reflected in frozen ponds.
4. The Memory Hunter (3’14’’), Dir. Marco B. Fontichiari, Italy, 2016
An ordinary odyssey of a man reconstructing a story through his blind memory seeking the light.
5. TABLEAUX, paysages premiers (12’21’’), Dir. Maïté Jeannolin & Charlotte Marchal, Belgium/Morocco, 2016
Inspired by a mystical ceremony, this movie mainly shot in Morocco is a contemporary reappropriation of a rite of passage, a symbolical journey through the colors of a trance night. If the body is a vehicle that moves, it’s to move its environment, to embody the landscape.
6. Treetops (3’09’’), Dir. Dustin Morrow, U.S.A., 2015
‘Treetops’ is an experimental film about the space between the natural world and the technology we use to capture it and reproduce it. It addresses the frustrations and limitations of trying to reproduce the world around us using cameras, sound recorders, and computers. To that end, it’s also a film about transition. The film moves from full-color, saturated and crisp imagery, to desaturated and flat images, then to black and white, to out-of-focus, to distorted, to overexposed, washed out and grainy images. The effect is slow, but evocative and easily observed due to the film’s brief running time. We begin with a truthful, “untouched” representation of the natural world, and we move to something more obviously digital, cold and processed – something that puts the technology and the technique (shooting and post-production) before the subject being depicted. And we only ever see the tops of the trees – when an artist attempts to use technology to capture the real world, he or she can only ever get “part of the story”. That is, no matter how hard we work at it, the tools we use have limitations that necessitate that we only create processed representations of that which we shoot/record.
7. THE HIVE (9’15’’), Dir. Jeremi Skrodzki, Poland, 2018
A short documentary about a green enclave in the city center of Warsaw. Filmed on the 35mm tape.
8. I will go backwards of our path (2’50’’), Dir. Mattia Biondi
“Andrò a ritroso della nostra corsa” is a backwards journey through the seasons and the units of the language. To change the prose of the world, its intact clock.
There is always a place more thoroughly, lost images in minimum intervals.