AWL_032 THE LOAD + DEPTH TWO

Exceptionally, AWL_032 will consist of two films screened over two consecutive nights. They are both directed by Ognjen Glavonic (1985, Yugoslavia) who investigated the same subject matter using two cinematographic strategies. Although both films clearly stand alone, this is a unique opportunity to see them one after the other.

THE LOAD by Ognjen Glavonic 2018, Serbia, 98 mins, Serbian w/ English subtitles

THE LOAD by Ognjen Glavonic
2018, Serbia, 98 mins, Serbian w/ English subtitles

On Wednesday June 26th we will screen the fiction film The Load (2018), in which we follow Vlada, who works as a truck driver during the NATO bombing of Serbia in 1999. Tasked with transporting a mysterious load from Kosovo to Belgrade, he drives through unfamiliar territory, trying to make his way through a country scarred by war. He knows that once the job is over, he will need to return home and reconcile with the consequences of his actions.

DEPTH TWO by Ognjen Glavonic 2016, Serbia + Montenegro, 80 mins, Serbian w/ English subtitles

DEPTH TWO by Ognjen Glavonic
2016, Serbia + Montenegro, 80 mins, Serbian w/ English subtitles

On Thursday June 27th we'll present the Dutch premiere of Glavonic' Depth Two (2016). The starting point for this poignant documentary is the 2001 discovery of a mass grave in a suburb of Belgrade. The film investigates the story behind these excavations and takes us back to the 1999 NATO bombings of Serbia. Using the oral testimonies of perpetrators and victims, 'Depth Two' unfolds as an experimental thriller that explores the places where horrific massacres took place 20 years ago, in an attempt to uncover the personal stories that are still buried in silence.

AWL_032a THE LOAD
wednesday June 26 2019
+
AWL_032b LEVEL TWO
thursday June 27 2019

doors open: 20.15
start program: 20.30
pre sale tickets: WORM
Boomgaardsstraat 71, Rotterdam

  AWL_031 KLASSENVERHÄLTNISSE by Jean Marie Straub + Danièle Huillet

Even though it might be one of Straub + Huillet's more accesible films, Klassenverhältnisse (Class Relations) is still a highly rigorous work, and rarely screened in the Netherlands.

Klassenverhältnisse by Jean-Marie Straub + Danièle Huillet  1984, France/Germany, 127", German w/ English subtitles

Klassenverhältnisse by Jean-Marie Straub + Danièle Huillet
1984, France/Germany, 127", German w/ English subtitles

The film is based on Franz Kafka's unfinished first novel, Amerika (Der Verschollene, posthumously published in 1927). It takes place at a non-specified moment in the 20th century, in which we follow the sixteen-year-old Karl Rossman, who has accidentally impregnated a domestic servant in his German hometown. To avoid a scandal, his parents send him off to find a job in New York City. He encounters an America of unwarranted optimism and confusing moral codes, while struggling through increasingly complex situations as the story unfolds.

As in all of their films, Straub + Huillet's cinematographic language is specific and precise, combining a highly theatrical approach with documentary strategies such as the strict use of location sound, recorded at the same time as the image.

AWL_031 
Klassenverhältnisse (Class Relations)
by Jean-Marie Straub + Danièle Huillet
with Karl Rossmann, Laura Betti, Harun Farocki, ao
1984, France/Germany, 127", German w/ English subtitles

Wednesday May 29th 2019
Doors open: 20.15
Start screening: 20.30
pre sale tickets: WORM
Boomgaardsstraat 71, Rotterdam

AWL_030 OBERHAUSEN ON TOUR

A selection of six short films, carefully handpicked from the archives of the legendary Internationale Kürzfilmtage in Oberhausen. The festival, the 65th edition of which will take place in early May, is one of the world's oldest showcases for short films. It presented the first works by now-renowned filmmakers such as Agnès Varda, Martin Scorsese and Werner Herzog and by artists like Pipilotti Rist, Miranda July and Kenneth Anger. For this collaboration I selected six recent films from Oberhausen's competition sections, resulting in an explicitly subjective program of outstanding art films.

still from  Chiroptères  by Romeo Grünfelder

still from Chiroptères by Romeo Grünfelder

With works by Louise Botkay, Kathryn Elkin, Romeo Grünfelder, Chan Hau Chun , Stanislaw Mucha and Nina Yuen. Full program

AWL_030  OBERHAUSEN ON TOUR
short film program, 76 minutes

Wednesday April 24th
Doors open: 20.15
Start screening: 20.30
pre sale tickets: WORM
Boomgaardsstraat 71, Rotterdam

AWL_029 BISBEE '17

BISBEE ’17 is a nonfiction feature film set in Bisbee, Arizona, USA, an old mining town close to the Mexican border. Radically combining collaborative documentary, western and musical elements, the film follows several members of the close-knit community as they attempt to reckon with their town’s darkest hour.

Bisbee '17 by Robert Greene 2018, 35mm, 112 minutes, USA

Bisbee '17 by Robert Greene 2018, 35mm, 112 minutes, USA

In 1917, nearly thirteenhundred immigrant miners, on strike for better wages and safer working conditions, were violently rounded up by their armed neighbors, herded onto cattle cars, shipped to the middle of the New Mexican desert and left there to die. This long-buried and largely forgotten event came to be known as the Bisbee Deportation.

The film documents locals as they play characters and stage dramatic scenes from the controversial story, culminating in a large-scale recreation of the deportation itself on the exact day of its 100th anniversary.

These dramatized scenes are based on subjective versions of the story and offer conflicting views of the event, underscoring the difficulty of collective memory, while confronting the current political predicaments of immigration, unionization and corporate corruption with direct, haunting messages about solidarity and struggle.

AWL_029 BISBEE ‘17
wednesday 20 march 2019
doors open: 20.15
start program: 20.30
pre sale tickets: WORM
Boomgaardsstraat 71, Rotterdam

AWL_028 THE ASTHENIC SYNDROME

The Asthenic Syndrome consists of two seemingly unrelated stories. In the first, shot in black and white, we follow a deeply depressed  woman who just buried her husband and who is about to destroy everything around her, including herself. The second story, shot in color, shows a teacher who suffers from the Asthenic Syndrome, causing him to fall asleep in the most crowded places of an overwhelmingly chaotic city. But it’s not so much the plot that makes up the main fabric of this masterpiece. Like in a radically exquisite poem, The Asthenic Syndrome takes you to places in your psyche that you’d didn’t know existed- but that you recognise instantly as spaces that need to be explored.

THE ASTHENIC SYNDROME by Kira Muratova 1990, 35mm, 153 minutes, Soviet Union, Russian w/ Dutch + English subtitles

THE ASTHENIC SYNDROME by Kira Muratova
1990, 35mm, 153 minutes, Soviet Union, Russian w/ Dutch + English subtitles

Sadly, Kira Muratova passed away in June of this year and it’s with the screening of her most acclaimed film we pay hommage to her exceptional legacy.

Screened on 35mm.

AWL_029 THE ASTHENIC SYNDROME
wednesday 19 December 2018
doors open: 20.15
start program: 20.30
pre sale tickets: WORM
Boomgaardsstraat 71, Rotterdam

AWL_027 FIELD RECORDINGS

9-10-11 November 2018 at WORM, Rotterdam

FIELD RECORDINGS is a three-day event with screenings, talks, listening sessions and an installation at WORM Rotterdam. Starting point is the work by multidisciplinary artist Joshua Bonnetta, who will present a new installation and several of his films and audio pieces in person.

FACEBOOK_FIELD_RECORDINGS-01.png

Tracing the acute relationship between humans and landscapes, FIELD RECORDINGS explores the tenor of contemporary landscape films and anthropological cinema – including works by Laida Lertxundi, Chick Strand, Deborah Stratman, Nina de Vroome, Salomé Lamas, Stephanie Spray and Pacho Velez.

Landscapes undergo our gaze, as much as they look back. In the works featured in this multimedia event, this affective relationship between humans and landscapes draws closer and draws away. Specifically, FIELD RECORDINGS probes and unpacks the sonic interventions and cinematic silences present in these films and art works.

The program outlines how human bodies are inscribed upon landscapes, and vice versa: from the earthly exchange between history and presence in Stratman’s Optimism (2018) to an unparalleled reading of the desert in Bonnetta and Sniadecki’s El Mar La Mar (2018). What these works have in common is that they embrace the complexities of the world we inhabit by reconfiguring anthropological methods: Lamas’s Eldorado XXI uses duration as a means to identify with the protagonists on a physical level, whereas Lertxundi’s 025 Sunset Red adopts auto-biographical modes of working to approximate The Basque Country and California.

FIELD RECORDINGS includes conversations and Q&As with Joshua Bonnetta, Hannah Paveck, Kaya Erdinç and Nina De Vroome. The program is curated and organized by Tim Leyendekker and Sander Hölsgens.

Full program

AWL_026 NAKED LUNCH

In Naked Lunch, David Cronenberg tells the story of William Lee, a bug exterminator who accidentally kills his wife. While writing a novel called Naked Lunch, he becomes involved in a secret government plot being orchestrated by giant insects in Tangier, a.k.a. the Interzone. The film is neither a book adaptation nor a biopic, but rather a subliminal reflection on the act of writing.

Jan Hiddink, program coordinator at WORM, will introduce the film with a talk on the current day legacy of William S. Burroughs.

NAKED LUNCH by David Cronenberg 1991, Canada/UK/Japan, 115”, English dialogues

NAKED LUNCH by David Cronenberg
1991, Canada/UK/Japan, 115”, English dialogues

AWL_026 NAKED LUNCH
wednesday 17 October 2018
doors open: 20.15
start program: 20.30
pre sale tickets: WORM
Boomgaardsstraat 71, Rotterdam
 

AWL_025 THOSE WHO ARE FINE + HEART OF HUNGER

Today, a silent thunderstorm is rolling over our society and Cyril Schäublin helps to make it palpable for us. In his feature debut THOSE WHO ARE FINE, we follow the young call center employee Alice, who calls up elderly strangers and pretends to be their granddaughter in urgent need of money. By using her skills gained selling internet and insurance deals, the trick quickly makes her a fortune. Through the film’s coolly understated tone we observe people and places in contemporary Zürich, all mysteriously connected to Alice’s business.

THOSE WHO ARE FINE (DENE WOS GUET GEIT) by Cyril Schäublin 2017, Switzerland, 71", Swiss German w/ English subtitles

THOSE WHO ARE FINE (DENE WOS GUET GEIT) by Cyril Schäublin
2017, Switzerland, 71", Swiss German w/ English subtitles

HEART OF HUNGER is the first part of a trilogy in which freshly-graduated artist Bernardo Zanotta reflects on the relation between cannibalism and sexuality. It’s a highly intimate film which alternates between absorbing and repelling the viewer in the most unanticipated ways. It premiered this August at the 71st Locarno Film Festival, where it won the Silver Leopard for best short film, the Pardino
d' Argento.

HEART OF HUNGER by Bernardo Zanotta 2018, the Netherlands, 29",  English dialogues

HEART OF HUNGER by Bernardo Zanotta
2018, the Netherlands, 29",  English dialogues

From the jury report:

(HEART OF HUNGER  is) a film that exorcises the fear of death through the oblique portraits of two mavericks in all their strength and fragility. Laughing, singing, crying, sharing, testing the limits of bodies in intimacy and friendship. Vitality sets cinema on fire through a baroque and exhilarating collage of crazy images. A poem of disruption and splendor. 

Bernardo Zanotta will be present for an introduction and Q & A.

 

AWL_025 THOSE WHO ARE FINE + HEART OF HUNGER
wednesday 5 September 2018
doors open: 20.15
start program: 20.30
pre sale tickets: WORM
Boomgaardsstraat 71, Rotterdam

 

AWL_024 DER SIEBENTE KONTINENT

DER SIEBENTE KONTINENT (1989) is Michael Haneke’s first feature film, made after an 18-year career as a producer and director for German television. Based on a press clipping from a local newspaper, the film covers three years in the life and death of a middle-class Austrian family in the 1980s. It’s one of his most radical and melancholic works, graphically outlining his later films, posing existential questions through distant observations on the actions and moralities of his protagonists.

DER SIEBENTE KONTINENT by Michael Haneke 1989, Austria, 104 min , German w/English subtitles

DER SIEBENTE KONTINENT by Michael Haneke
1989, Austria, 104 min , German w/English subtitles

Before DER SIEBENTE KONTINENT, the screening will begin with two remarkable short films which reflect on family life in ways that deeply contrast with our feature film. CHRISTIAN AND MICHAEL (2006) is an affectionate portrait of a Viennese couple and the objects that surround them. Chicago-based filmmaker Adele Friedman shot the film on 16mm and uses no sound, evoking associations with early anthropological films while keeping an explicitly subjective gaze.

HAPPY-END (1996) by experimental eminence Peter Tscherkassky is an excessive remix of found footage depicting a middle-aged couple’s yearly ritual involving music, dance and the consumption of lots of egg-liquor. It’s as much a happy celebration of their relationship as a mournful testimony of things that are inevitably coming to an end.
 

AWL_024 DER SIEBENTE KONTINENT
wednesday 23 may
doors open: 20.15
start program: 20.30
pre sale tickets: WORM
address: Boomgaardsstraat 71, Rotterdam

AWL_023 OUROBOROS

In her first feature-length film, artist Basma Alsharif ambitiously expands her exploration of the individual in relation to political history and collective memory. The basis for the film is the concept of the Eternal Return, carried in the film’s title: Ouroboros, the symbol of the snake eating its own tail.  
 
The film is an homage to the Gaza Strip as a place where civilisation has begun to end and where a new beginning emerges, for better or for worse. It weaves together disparate landscapes, peoples, and histories, unveiling an endless cycle of destruction and renewal, doomed to repeat itself as the process of forgetting seems to be the only way to move forward.

Ouroboros by Basma Alsharif, 2017, France/Palestine/Belgium/Quatar 77 min. / Italian, English and Chinook w/ English subtitles

Ouroboros by Basma Alsharif, 2017, France/Palestine/Belgium/Quatar
77 min. / Italian, English and Chinook w/ English subtitles

Ouroboros features fellow artist Diego Marcon as the wandering protagonist, a voice over by Sky Hopinka, sound + music by Federico Chiari & Yann Gourdon, and exquisite 16mm camerawork by filmmaker Ben Russell. It premiered last year at the Locarno Film Festival and was screened at the Whitney Biennal in New York, Underdox in München, and at the BFI London Film Festival. This AWL screening in WORM will be the Dutch premiere.
 

AWL_023 OUROBOROS
wednesday 28 march
doors open: 20.15
start program: 20.30
pre sale tickets: WORM
address: Boomgaardsstraat 71, Rotterdam

AWL_022 SAUVAGERIE

Sauvagerie was filmed in Pará, the second largest state of Brazil, which was almost entirely covered with rain forest 40 years ago. Today only a few spots of green remain: some residues of the primary forest and several abandoned gardens in the suburbs of the big cities, like its capital Belém. This is the arena in which filmmakers Jonathan le Fourn and Rémi de Gaalon investigate their romantic assumptions of what contemporary savagery looks like. Stories of the forest and the city are vigorously juxtaposed, constructing a dark new mythology in which its inhabitants become successively the master and the prisoner of their surroundings.

Sauvagerie by Jonathan le Fourn+Rémi de Gaalon, 2017, Brazil/France, 94 min, Portuguese w/English subtitles

Sauvagerie by Jonathan le Fourn+Rémi de Gaalon, 2017, Brazil/France, 94 min, Portuguese w/English subtitles

AWL_022   SAUVAGERIE
wednesday 20 december
doors open: 20.15
start program: 20.30
pre sale tickets: WORM
address: Boomgaardsstraat 71, Rotterdam

 

AWL_021 LOVE SOUNDS

Program by Kaya Erdinç

While much emphasis has been placed on the visual iconography of love, with the exception of music very little attention has been given to love as an aural, spoken phenomenon since the tradition and practice of amour courtois. In ‘Love Sounds’ Masha Tupitsyn researches the English speaking history of the talkies to meticulously unravel its relation to the politics of love.

love sounds.gif

Since cinema is the so-called ultimate pervert art, there will always be a lack of films that are capable of living up to the expectations set by such an eccentric act of categorization. In Love Sounds, Tupitsyn grants us the luxurious possibillity of feeling with and against this Žižekian polemic, spreading out cinema's muddy terrain of the senses. In these four hours, we are freed of the image and how it usually represses our performative urges while sitting in the movie theatre. Relieved of tactile imagery, and filled with lavish stories from the English speaking history of the talkies, we are invited to contemplate how others listen in darkness, as we ourselves turn into ghostlike shadows with augmented hearing but deprived of sight.

You can download a beautiful little book about the project here.

 

AWL_021   LOVE SOUNDS
wednesday 15 November
doors open: 19.15
start program: 19.30
pre sale tickets: WORM
address: Boomgaardsstraat 71, Rotterdam

AWL_020 WALKABOUT + DEAR LORDE

In Nicholas Roeg’s directorial solo debut from 1971, a teenage girl and her younger brother are left alone during a day trip to the Australian outback, when their father goes berserk and kills himself. During their quest to find a way out of the dry wilderness, they meet an Aborigine boy who is undergoing a walkabout, a tradition in which teenage boys must survive on their own in the wilderness as a rite of passage. As they continue their journey together it becomes apparent that some cultural differences just can’t be bridged.

walkabout poster2.jpg

Walkabout is preceded by the short film Dear Lorde by Emily Vey Duke + Cooper Battersby. In it, we follow Maxine Rose, a fourteen your old artist who wonders about her identity and about how to make her work visible to the world. She addresses her questions in movingly crystalline letters to people she admires, such as primatologist Jane Goodall, Bishop Desmond Tutu, comedian Louis C.K. and pop star Lorde.

AWL_020
Wednesday 18 October 2017
doors open: 8.15 PM
program + tickets: WORM
address: Boomgaardsstraat 71, Rotterdam

Labor of Love: WORM Filmwerkplaats at UNDERDOX München

Artist-run film lab WORM Filmwerkplaats was founded in 2000 by Esther Urlus and Joost van Veen. It functions as a workspace dedicated to DIY analogue practice, geared towards artists interested in film as an expressive, physical medium. Part of a larger network of artist-run labs in Europe, WORM Filmwerkplaats functions as a centre for new experiments and debates around filmic creation. It has a unique position in the Netherlands and far beyond.

from  Still Life With Fries  by Rebecca Erin Morgan

from Still Life With Fries by Rebecca Erin Morgan

For Underdox International Festival für Dokument und Experiment I selected sixteen short films that were mostly all produced, developed and printed at the Filmwerkplaats premises in Rotterdam. With works by Rebecca Erin Moran, Francien van Everdingen, Ferenc Sebők, John Price, Carolien Slegers, Daan de Bakker, Lichun Chen, Christelle Gualdi, Esther Urlus, Judith van der Made, Joost van Veen, Matt Hulse and Pim Zwier.

Labor of Love: WORM Filmwerkplaats at UNDERDOX München
Monday 9 October 2017 / 8.30 PM
address: Werkstattkino, Fraunhofer Str. 9, München, DE
full program + tickets

AWL_019 KARL'S PERFECT DAY

For his second feature film, Rirkrit Tiravanija asked fellow artist and poet Karl Holmqvist to describe him how his perfect day would look like. Holmqvist’s answer came in the form of a film script in which he takes the viewer along for an exquisitely intimate one-day journey through his hometown Berlin. We witness Karl brushing his teeth, watch him taking a jog while listening to JAY-Z, see him reading poetry to his plants after visiting Hanna Hoch's garden with a dear friend and watch him perform with the legendary Arto Lindsay. Like in Tiravanija's other work, daily life and art merge into a realm of social engagement and curiousity.

Karl's Perfect Day by Rirkrit Tiravanija, 2017, Germany/Mexico, 92 minutes, English spoken

Karl's Perfect Day by Rirkrit Tiravanija, 2017, Germany/Mexico, 92 minutes, English spoken

AWL_019
Wednesday 20 September 2017
doors open: 8.15 PM
program + tickets: WORM
address: Boomgaardsstraat 71, Rotterdam

AWL_018 LE PARC

Summer time. A teenage boy and girl have their first date in a park. Hesitant and shy at first, they soon discover each other, get closer as they wander, and end up falling in love. But as the sun goes down, it is time to part... And a dark night begins.

What starts as an uber traditional French girl-meets-boy story turns out to be one of the queerest films you will see this year.
 

AWL_018   Le Parc by Damien Manivel
Wednesday 26 July 2017
doors open: 8.15 PM
program + tickets: WORM
address: Boomgaardsstraat 71, Rotterdam

AWL_017 BLUE

Blue was Derek Jarman's twelfth and final feature film, released four months before his death in 1994 from AIDS-related complications. It's a radical and deeply moving art work, consisting of a single shot of International Klein Blue filling the screen. This image is accompanied by a soundtrack where Jarman and some of his favorite actors voice over a narration describing his life and vision, interwoven with music by Simon Fisher Turner, Karol Szymanowski, Brian Eno, and others.

Blue, 1993, UK, 79 min, English

Blue, 1993, UK, 79 min, English

Watching Blue the first time at IFFR in 1994 was a formative experience for me, and I've been wanting to screen it for a long time. It expanded my vision about the potential of cinema, and it made me realize how profoundly personal a work can get without it being sentimental or exhibitionist. I'm incredibly pleased that we're able to screen the film in it's original 35mm format, and I'm so much looking forward to watching it together, this coming Thursday at WORM.

AWL_017   Blue by Derek Jarman
Thursday 22 June 2017
doors open: 8.15 PM
program + tickets: WORM
address: Boomgaardsstraat 71, Rotterdam

AWL_016 MELANIE BONAJO

When you watch Melanie Bonajo’s films, you feel they are made by an old soul with a highly contemporary spirit. She has the ability to fluidly connect the mature to the youthful, the mundane to the sublime, and the empathetic to the ironic. Although it’s easy to love her work, it always has a critical undertone, challenging our ideas on nature, nurture and progression, by sharply dissecting the mechanics that shape the society we inhabit.

Nocturnal Gardening portrays four women living according to alternative norms and who have each, on their own, established new communities. The women attune their energy to the ecosystem around them with an enhanced sensibility. They stand for sensitivity, connection, and communication with plants, animals, the elements, and other communities. Though they are revolted by the counterproductive insanity of our hoarder culture, in which everything is archived in a museum of dead things, they are not trying to destroy civilization but rather to experiment with alternative strategies. Each of them embraces social movements and self-organization, exploring spiritual anarchy and the solitary nature of the wild in their own way.

Progress vs. Regress is a film about the ways modern inventions have changed social relationships, as seen through the eyes of those almost one hundred years of age. This generation has lived through a century with the most sudden, widespread industrial, technological, and digital changes in the history of humankind.

The film documents the most influential of these inventions with regard to how they shape us and our values, and investigates how the myth of progress has affected and continues to affect attitudes towards labor, money, time, and emotions. Embedded within this work lies the story of how we as a society cope with our elderly population. The generation born now grows up on a conveyer belt of inventions in the name of progress, while the elderly have no perceived economic value and are not taking part in our visual culture.


AWL_016   Melanie Bonajo
Wednesday 17 May 2017
doors open: 8.15 PM
program + tickets: WORM
address: Boomgaardsstraat 71, Rotterdam

AWL_015 TRANSMISSION

For my first curatorial endeavor in my second hometown Paris I selected five films that reflect on the notion of transmission. Not being able to fluently speak a language creates space for relating to each other with other means than words or with words with other meanings. You see: it has already started.

Laure Prouvost   Grandma's Dream

Laure Prouvost   Grandma's Dream

Subtítulos: Saber sin estudiar (Subtitles: to Know without Learning)
Manuel Saiz
Spain / 2016 / 6 min

Subtitles: to Know without Learning is an intimate film, largely inspired by the writings of Ludwig Wittgenstein. In it, a sequence of handmade subtitles translate, confirm, or deny what the only character of the film says while looking at the camera. Written and spoken language play along to express the difficulty of a comprehensive meaning.

Grandma’s Dream
by Laure Prouvost
United Kingdom / 2013 / 9 min

In ‘Grandma’s Dream’ Laure Prouvost explores the sorrows and dreams of her grandmother, the abandoned partner of her missing ‘grandfather’ a character she introduced in her 2010 films ‘I need to take care of my conceptual grandad’ and ‘The Artist’. While floating around in rosy-blue skies Prouvost inventively combines language and images to construct newly invented storylines, exploring the slippages between fiction and reality.

BLINDER
by Tim Leyendekker
Netherlands / 2015 / 12 min

BLINDER consists of 6386 photographs representing all the objects and characters featured in the English translation of José Saramagoʼs 1995 novel Ensaio sobre a Cegueira. In conceptual parallel with these images, the filmʼs soundtrack is comprised of 6386 audio samples extracted from Blindness, Fernando Meirellesʼs 2008 feature film based upon Saramagoʼs novel.

She’s All That
by Lisa Gliederpuppe
Netherlands / 2015 / 6 min.

She's All That is a video work containing 210 stills and moving images of and by Paris Hilton, collected from different online sources. The sound accompanying the slideshow is a live recording of the poem Fast Speaking Woman read by the author Anne Waldman. Each line of the poem is paired with an image. Together they survey the diverse physiognomy of Paris Hilton as a female icon.

Filme para Poeta Cego (Film for Blind Poet)
Gustavo Vinagre
Brasi l/ 2012 / 26 min

Glauco Mattoso, a blind sadomasochistic poet, agrees to participate in a documentary about his own life, but the conditions he imposes raise difficulties to the work of the young director. In an ambiguous way the film reveals the fine line between high literature and fag-end vulgarity.


AWL_015 // TRANSMISSION
Saturday 29 April 2016, 8PM
EN COURS Site d'art contemporain
56, Rue de la Réunion, 75020 Paris
Facebook event
Free entrance <3

AWL_014 NICOLAS BOONE

In his singular films, Nicholas Boone draws his viewers into realms somewhere between documentary, science fiction, and hallucination. His work can be spectacularly lethargic and refreshingly mundane at the same time, a juxtaposition that evokes the immersiveness comparable to being willingly stuck in the feverish landscape of a sublimely designed video game.

HILLBROW.jpg

 Although they were not conceived as such, we'll view the films Bailu Dream (2012), Hillbrow (2014), and Psaume (2015) as a triptych, since they speak a common visual language that seems to become more articulated and advanced with each new film.

In Bailu Dream we witness the making of a travel commercial in a typical French village. The fact that this village is situated in the Sichuan province of China is not the only reason why the film feels so uncanny. Hillbrow was filmed in the eponymous district of Johannesburg. Once a trendy cultural attraction, it has developed into a densely populated and rather violent working-class neighborhood. The film offers us ten local stories that transcend their geographical boundaries and whose fictional characters are played by the inhabitants presently living in the neighborhood. Psaume is set in a near future, where all the villages of a sub-Saharan area have been deserted. A few outcasts still roam the dusty white expanses of the deserts, engaging in captivating rituals that seem to echo a dark past.

AWL_014 NICOLAS BOONE
Wednesday 19 April 2017
doors open: 8.15 PM
program + tickets: WORM
address: Boomgaardsstraat 71, Rotterdam