Thursday October 21 at 6 pm and 8:30 pm : Screenings, Discussions

Videodrome 2 is welcoming the first stop of the 35 Festival Les Instants Vidéo with two programmes at 06.00pm and 08.30pm.
👉🏽 49 Cours Julien, 13006 Marseille

6.00pm Now I see, but I don’t know (49’)

“Then I know but I don’t see.
Now, I see but I don’t know. 
I know, I don’t know 
Now, I know that you don’t know
And I see you don’t see.” (B)

Be Maybe May (11’38 – 2021) / Olivier Jonvaux (France)
A white cat walks through a gas station, speaking with a high formal language. His robotic double seems to warn him of a danger. Close to him, a bunch of grape evaporate and reveal a giant Pufferfish. The cat then enters a parallel universe where the material no longer reacts in the same way, the dream seems to merge with reality.

3 fois toi (03’30 – ) /Jean-Louis Accettone (France)
A triple face appears. The words of the three faces complement each other, sometimes contradicting each other. Troubled and disturbing, the face in triptych on a black background, speaks to us of presence and oblivion, of our childhood, of our identity. The character takes us to a dreamlike, intimate and poetic world. 

Les corps dansants (5’42 – 2019) / Elisa Monteil, La Fille Renne, Laure Giappiconi (France)
Dancing Bodies is a joyful and sexual ode to sisterhood.

Run version vertical (5′ – 2019) / Stuart Pound (England)
The source clip is taken from a cult science fiction film where the world is literally turned on its side. The audio track is cut along with the moving image and superimposed 5 times reverberating speech and effects tracks. .

Bunker (6’52 – 2022) / Isabel Pérez del Pulgar (France)
The bunker forms an ecosystem in itself. A fortified and protected space facing an open and precarious exterior. A system with its own rules and regulations that feeds on the outside that surrounds and dominates. A faulty gear. 

Lucina Annulata (4’12 – 2021) / Charlotte Clermont (Quebec)
Sunny. Semantic sequences guide the gaze, a gaze that is sometimes raised, propelled downwards, then too high or motionless in front of an unrecognisable and yet so familiar vision. The images, linked by echoes of chromatic palettes and linear layers, scroll to the rhythm of a voice reminiscent of an incantation. Sacred.

Until I remember a dream I had before (1’42 – 2019) / Santiago Colombo Migliorero (Argentina)
Dreams are something we cannot access in a direct way. They only become accessible thanks to our memory, what we recall during the vigil. Here, we add a narration and a sense to what was just multiple and simultaneous. Images and evocations become significant; what existed once gets transformed, the primary reference gets lost, and memories get modified while others appear. 

Sang Titre (10’ – 2019) / Jean-Luc Godard (Switzerland)
This video message was sent by Godard was sent by Godard as an address to the Palestinian public for the biennale /si:n/. The last sentence of the film, spoken by the director, resonated in the hearts of Palestinians who are tirelessly resisting the Occupation since 1948: “You don’t have to hope to undertake, nor do you have to succeed to persevere”.

8.30pm Like a pinball ball (57’)

“And I live like a pinball ball, rolling
When you’re the captain of a singing boat, you’re sinking” (CC)

Monstera (12’24- 2021) / Vera Chotzoglou (Greece)
Monstera deliciosa, an originally tropical plant, used indoors as an aesthetic, decorative object, becomes the symbol of our recent internment experience. In this field of desire, reality, struggle, memory and expectation, a whole new perception of existing is emerging. The accumulated tension, that the state of hold has brought, leads to the persistent bodies’ preparation for wrestling and crash. An “expedition chronicle”, about this totally new context.

MSSM (0’42 – 2022) / Ignazio Fabio Mazzola (Italy)
Maurizio Sacripanti’s prefab school, designed in 1969 for the town of Molfetta, turns into a deafening film. An animated interpretation of a section of the building: holes, panels and layers of the project transform into a mechanical rhythm, but the sound of a bell alters the logic of the system. 

Camile (10’06 – 2021) / Feb Yifei Xie (China)
This work hopes to get a glimpse of the temptation, fear, and desire of the individual under the identity of the female to the centralizational power of the gender through the reorganization of private dialogue and the withdrawal of daily behaviors.

French poem 4 : Politics (2’54 – 2018) / Mathias Richard (France)
Ultra-speed frontal video made by the french performer and poet Mathias Richard. The text which is said is a mix of chorus and lyrics of famous Anglophone songs. Emphasis is put on a complex editing, creating rythm, vertigo, a whirling choreography. 

Interloop Meaning Lies Inter/views /Loves (12’54 – 2018) Paul Jacques Yves Guilbert (Belgium)
“It’s a virtual interview with augmented scribbles, it’s totally “meta”, it deals with meaning, tropical house, slow mix, pop and red carpets.” ¹ “What do you Mean ?” ² “This is a question that is likely to remain forever unanswered… probably because there was never any question, this question may remain forever suspended, forever interrogative, as remains forever interrogative the why? ” ³ [¹ Le Chimist in Introduction à Hannah, 2018. ² Justin Bieber in Purpose, 2015. ³ Vladimir Jankélévitch in La Musique et l’Ineffable, 1961]. 

Infinity (6′ – 2021) / Milan Zulic (Switzerland)
I found the sea · A boundless ocean · I have opened a treasury unending · Its jewels blaze with the luster of a thousand thousand suns · And they blaze here, in my soul · Of a sudden · Without any effort of mine own · I have heard the eternal Secret · I have learned to know God · Here in my life hath blossomed · The flower of perfect union. 

Genderfluid (6’43 – 2021) / La Fille Renne, Laure Giappiconi, Elisa Monteil (France)
“In my dreams, I fuck girls all day long.” This short movie is about gender fluidity and desire. It’s a poetic story, between fantasy and reality, on desire when we are non-binary, and our body and our genitals do not always match to what we would like to be, and what we would like to do, during sex. The narrator are obsessed with fucking girls with his cock, but have a vulva; and the reality, with a prosthetic cock, is less exciting than fantasies. 

Unsound (3’54 – 2019) / Vivian Ostrovsky (USA)
A Russian can say, “I hear the smell…” A maestro has a vision of what a symphony should sound like. In a silent film how can one make the spectator see the sound? A vivid and noisy assemblage of archival and contemporary imagery meditating on the past and presence of film audio. 

Death of a Film (1’43 – 2016) / Jacob Maximillian Baron (USA)
A strip of 16mm film introduces itself.

And 1 Video Installation

October, 21 to November, 25 (6pm to 10pm)

Deepdreamtrip (15′ – 2022 ) / Argentino Mazzarulli (Italy)
A journey into autonomously created visuals by AI algorithms that simulates brain dreamings driven by simple textual inputs. As you can see these visuals are like fractals with infinite zoom as if they were endless thoughts, infinite artificial thoughts.