Friday November 11 at 9 pm : Screening and Discussions

For our first artistic gesture as a collective, we felt it was important to pay tribute to the Festival Images Contre Nature (Marseille) and to rekindle its flame in order to let ourselves be dis-orientated by experimental films that make us work on the language of images. We will have plenty of time to discuss this evening with Hélène Bez and Claude Ciccolella, two of the founders of the festival.

👉🏽November, 11 (9 to 11pm), in La Friche

Only dogs can win (59’)

“At the end of July 2018, the festival Images Contre Nature (ICN) is suspended. In the following months, only the number 19 – for its 19 edition – appeared crossed out with the letter X and it will be the waiting. The machinery is sleeping, only money is missing. As long as we don’t say it’s over, nothing is over. Silence, a long silence. Who said you can’t live in a fairy tale? Who said you can’t walk naked in a forest on fire, who? No one. Every one. Everyone knows that fairy tales hide death. Everyone knows that a human body burns, the bones calcify, water evaporates. So after 4 years, let’s bring the machinery into motion again, for a little while, to stop the clock, for a last program.
We present Only dogs can win, a program that of course will not sum up 18 years of festival. No film can be, nor has to be the illustration of a programme, as rich as it may be. In fact, the choice of films for our program is based on a simple principle that was very useful for us: to stay as clear as possible and keep the direction as fairly as possible, to know how to position ourselves in the cinematographic landscape and to stay in this place as fairly as possible.
When it was created, Images Contre Nature built itself on a question: how does digital technology changes the practise named “experimental cinema”? At that time the word experimental was not really in use anymore. Yet, it is the perfect word. It does not cover any rigid definition, and thus no dogma. There is some space to get in and give our own point of view. One among others. But one that has to be named, to show our colours. We will approach this cinema from the angle of language, which explains our program headings: space, time, movement, perception, senses…- titles that once they appeared, will remain unchanged, as the common threads gathering films with a wide range of subjects. Today, when delving into ICN archives, with emotions, the mechanics has changed. Intimate, it gets in tune with our memories, the inability of showing everything, the nonsense, questions, pains, beauty. Ten films, a concentration of what is going through us, after all.

We want to thank the film makers, all those who accompanied us, wholeheartedly. We thank Les Instants Vidéo and their word “homage” which woke us up from our sweet slumber. It was infinite. H.B.

Fragments untitled #1 (6’50 – 2012) / Doplgenger (Serbia)
The famous speech of Slobodan Milošević, which took place in Kosovo on June 28th 1989, was performed in front of thousands of people. The National television was streaming it. This event, as known as “happening of the people”, is embodied in the image and the speech of Milošević. History regards it as a presage of the collapse of Yugoslavia and the bloodshed of the Yugoslav Wars. « Fragments untitled #1 » vivisects media footage and TV stream of the 1989 event in order to denote the invisible and deconstruct the memory.

Sur le passage de quelques amis Facebook (5’47 – 2011) / Suzel Roche (France)
Hijacking of sounds from films by Guy Debord, loan of images from my facebook friends’ wall, this film has not pretension at all, but to look with kindness our total immersion in the society of the spectacle, where all reality has turned into a representation.

Chinese Wedding Dancer (14’50 – 2008) / Neil Needleman (USA)
In the winter of 2008 I travelled to Harbin, China’s northernmost city, for my son’s wedding.
After cobbling together the “expected” wedding video for the family, I edited this structuralist work for myself (and for you, as well, if you enjoy it). The dancer who you see here was just one small part of the festivities, which also included indoor fireworks, costume changes, and enough food to feed the Chinese army.

Impressure (4’35 – 2017) / Guli Silberstein (England)
Impressure: a mark made by pressure” (Merriam-Webster). Family trips in British landscape softly explode and diffuse on screen, creating smears of vibrant colours and merging moving forms. The work wonders about the connection between humans and nature, and the use of technology in perception of the natural world.

Monica’s portrait (5′ – 2015) / João Cristovão Leitão (Portugal)
Mónica is, in theory, anything. Therefore, her portraits are born from the juxtaposition of sounds and of images taken from the audiovisual archive that is YouTube. Copyrights are neglected, the purposes of those who are neglected are usurped and (im)possible truths are tested. Thus, Mónica’s Portrait isn’t intended as an inflexible document – which informs and certifies –, but rather as an audiovisual montage able to suggest the inevitable and multiple identity of things: of sound, of image and of mankind.

Film Loop 34: Ryoanji (1’30 – 2017) / Michael Lyons (Japan / Italy)
Filmed on 16mm at the Ryoanji dry landscape garden (枯山水) in northwest Kyoto and developed using matcha (powdered green tea). The soundtrack is by Stefano de Ponti and Elia Moretti.”

Charades (7′ – 2009) / Ann Steuernagel (USA)
Charades is an experimental, found footage video composed from home movies and homemade stag films. Initially, it was created as a reaction to public policy charades such as “Don’t Ask, Don’t Tell” but evolved into a piece about the celebration of boy/girl identity and lesbian sexuality.

Eldorado (4’06 – 2017) / Salise Hughes (USA)
Made of footage from Glengarry Glen Ross, an episode of the TV show Bonanza, news footage from three major hurricanes and forest fires occurring during production, and news footage of the 2010 BP oil spill.

Win-Nip-Egg (4’12 – 2015) / Lamathilde (Canada)
When a state phantomizes a population, another reality. When history distorts the truth. When my (her) story meets another (her)story. When women disappear without a trace. When, white and privileged, I attend a rehearsal of stories. When violence done to women’s bodies equals the violence done by words.

Scherzo (5’15 – 2015) / Fabio Scacchioli & Vincenzo Core (Italy)
“O, wonder! How many goodly creatures are there here! How beauteous mankind is! O brave new world, That has such people in’t!” Shakespeare’s The Tempest.