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

AWL_013 OBERHAUSEN ON TOUR

In its 63 years of existence, the legendary Oberhausen Kurzfilmtage have shown early works by renowned artists such as Valie Export, Agnes Varda, Chris Marker, Miranda July, Werner Herzog, Andrea Arnold and Martin Scorcese, while keeping a sharp and curious eye on both the essence and the fringes of contemporary cinema and art film production. In this program we'll show seven award winning films from the 2016 edition. As a special bonus we'll throw in an outrageous masterpiece from 1965 from the Oberhausen vault, in its original 16mm splendor.

 489 Years by Hayoun Kwon

489 Years by Hayoun Kwon

Program:

Telefon Santrali - Sarah Drath, Germany, 2016, 7′
All Day - Andreas Hofstetter, Germany, 2015, 4′
489 Years - Hayoun Kwon, France, 2016, 11′
Mains Propres - Louise Botkay Courcier, Brazil, 2015, 8′
Ang araw bago ang wakas - Lav Diaz, Philippines, 2015, 16′
SHE WHOSE BLOOD IS CLOTTING IN MY UNDERWEAR - Vika Kirchenbauer, Germany, 2016, 3′
Venusia - Louise Carrin, Switzerland, 2015, 34′
 

AWL_013 OBERHAUSEN ON TOUR
Wednesday 15 March 2017
doors open: 8.15 PM
program + tickets: WORM
address: Boomgaardsstraat 71, Rotterdam

AWL_012 CONTINUITY + DOA

Continuity is an outstanding work from 2016 by the highly prolific video artist Omer Fast. The feature length film is a remake, repetition and continuation of a short film that was commissioned by and premiered at dOCUMENTA13 in 2012.

 Continuity by Omer Fast Germany / 2016 / 85min / German w/ English subtitles

Continuity by Omer Fast
Germany / 2016 / 85min / German w/ English subtitles

The film starts as a straight-forward story of an emotional homecoming from a war and turns uncanny as the two protagonists – a middle aged couple living in a small town in Germany – repeatedly invite different young men into their home to perform an inscrutable ritual. It remains unclear whether the couple has suffered an actual loss – or if their substitute sons are just a way of staying together.

 DOA (Death On Arrival) by Manuel Saiz Spain / 2017 / 17min / English

DOA (Death On Arrival) by Manuel Saiz
Spain / 2017 / 17min / English

Continuity will be preceded by DOA (Dead On Arrival) by Spanish artist Manuel Saiz. It's a precise and supercharged short film essay about the thin lines between life and death. Both deep and shallow, dark and enlightening and one of the best works I saw at IFFR this year, and there were many.


CONTINUITY + DOA (DEAD ON ARRIVAL)
Wednesday 15 February 2017
doors open: 8.15 PM
tickets: WORM
address: Boomgaardsstraat 71, Rotterdam

 

AWL_011 BRIAN M. CASSIDY + MELANIE SHATZKY

During one of my first curatorial gigs in 2007, I came into contact with the work of Melanie Shatzky and Brian Cassidy. I’ve been following them ever since. From their enigmatically pulsating The Delaware Project, to the affectively anthropologic God Provides, and the socially engaged The Patron Saints, I’ve always been fascinated by their seamless use of documentary and fiction strategies, and their ability to find genuine beauty in the most forlorn places.

  The Delaware Project  /&nbsp;USA, Canada / 2007 /&nbsp;14 min / English  Francine  / USA, Canada / 2012 / 74 min / English

The Delaware Project / USA, Canada / 2007 / 14 min / English
Francine / USA, Canada / 2012 / 74 min / English

In Francine, Cassidy and Shatzky’s feature debut from 2012, we follow a nearly silent woman, who has just been released from prison as she tries to make a place for herself in an anonymous American lakeside town. Taking a series of jobs working with animals, Francine turns away those who show an interest in her and instead seeks intimacy in an ever-growing brood of pets.

The Dutch premiere of Francine will be preceded by The Delaware Project, the duo’s multi-award-winning short that premiered at IFFR in 2007.  The film centers on a young woman's fledgling sense of connection in a landscape that is undergoing rapid development.

Although both films are independent works, their truly singular signature resounds with clear indicators of their authors.

BRIAN M. CASSIDY + MELANIE SHATZKY
Wednesday 18 January 2017
doors open: 8.15 PM
tickets: WORM
address: Boomgaardsstraat 71, Rotterdam

AWL_010 AUSLANDER RAUS! Schlingensief's Container

Ausländer Raus is a thrilling, insightful and outrageously funny chronicle of one of he biggest public pranks ever committed. Austria 2000: Right after the FPÖ under Jörg Haider had become part of the government, the first time an extreme right wing party became state officials after WW2, infamous German artist Christoph Schlingensief instigated a unique form of protest. Realising public xenophobia and the new hate politics in the most drastic ways possible, he installed a public concentration camp right in the middle of Vienna´s touristic heart, right beside the pittoresque opera where hundreds of tourists and locals pass by daily.

 AUSLANDER RAUS! Schlingensief's Container by Paul Poet 2002 / Austria / 90 min / Digital File / German / English subtitles

AUSLANDER RAUS! Schlingensief's Container by Paul Poet
2002 / Austria / 90 min / Digital File / German / English subtitles

It was a place that cynically reflected on a new multimedia culture. Satirising reality TV shows, Big Brother especially, a dozen asylum seekers were surveilled by a multitude of cameras, could be fed and watched by passer-by´s and two were thrown out of country through web-voting per day. The way fascism looks in the 21st century: Bright. Sensational. Interactive. Funny. Frightening. Austria freaked out. Thousands of screaming people gathered. Attacks with knifes, beatings, acid occurred. Political intrigues. Headlines all over Europe. 800.000 worldwide joined via internet. An incredibly heated week, capturing the European right-wing drift in real time. Democracy the hard way.


AUSLANDER RAUS! Schlingensief's Container by Paul Poet
Wednesday 14 December 2016
doors open: 8.15 PM
tickets: WORM
address: Boomgaardsstraat 71, Rotterdam
 

AWL_009 ANGST ESSEN SEELEN AUF

Rainer Werner Fassbinder's Angst Essen Seelen Auf aka Ali: Fear Eats the Soul is at once an intimate depiction of a relationship and a critical portrayal of the social context it takes place in. In it, a lonely widow meets a much younger Arab worker in a bar during a rainstorm. They fall in love, to their own surprise—and to the outright shock of their families, colleagues, and drinking buddies.

 From the opening titles of Ali: Fear Eats the Soul by Rainer Werner Fassbinder Germany / 1974 / 94 min / German, English subtitles

From the opening titles of Ali: Fear Eats the Soul by Rainer Werner Fassbinder
Germany / 1974 / 94 min / German, English subtitles

Fassbinder not only directed this highlight of German New Wave cinema, he also scripted, designed, and produced it. We will show it in a fully restored version, supervised by director of photography Jürgen Jürges.

Here you'll find a short and sharp analysis by Todd Haynes, who directed Far from Heaven (2002), which was based on Douglas Sirk’s All That Heaven Allows (1955), also a major inspiration for Ali: Fear Eats the Soul.
 

 Hotel Punta del Este by Luis Sens Argentina / 2015 / 9 min / Spanish, English subtitles

Hotel Punta del Este by Luis Sens
Argentina / 2015 / 9 min / Spanish, English subtitles

The feature film will be preceded by the Dutch premiere of Hotel Punta del Este, a short documentary by Argentinean photographer Luis Sens. In terms of form, it’s a rough counterpart to Fassbinder’s masterpiece; substantively, it chillingly connects its themes to our contemporary situation.


Angst Essen Seelen Auf aka Ali: Fear Eats the Soul by Rainer Werner Fassbinder
Wednesday 23 November 2016
doors open: 8.15 PM
tickets: WORM
address: Boomgaardsstraat 71, Rotterdam

THOSE SHOCKING SHAKING DAYS

 THOSE SHOCKING SHAKING DAYS by Selma Dobovic Austria, Bosnia and Herzegovina / 2016 / 88 min / 16mm and VHS transferred to HD / English

THOSE SHOCKING SHAKING DAYS by Selma Dobovic
Austria, Bosnia and Herzegovina / 2016 / 88 min / 16mm and VHS transferred to HD / English

THOSE SHOCKING SHAKING DAYS is a radical and uncompromising film essay about the (im)possibility of depicting the atrocities of war. Taking the Bosnian war (1992-1995) as a starting point, artist Selma Doborac confronts us with our position as both onlooker and image consumer in a way that's quite shocking indeed, although not quite in the way you might expect. Experiencing this work is as emotionally confronting as it is intellectually challenging.

 NUIT ET BROUILLARD by Alain Resnais France / 1956 / 32 min / 16mm to HD / French with English subtitles

NUIT ET BROUILLARD by Alain Resnais
France / 1956 / 32 min / 16mm to HD / French with English subtitles

After a break, we will show NUIT ET BROUILLARD (1956) by Alain Resnais, a short documentary made ten years after the liberation of the Nazi concentration camps in Auschwitz and Majdanec. The film exposes a radically different approach to the representation of evil, historically echoing the questions and ideas that manifest themselves in our feature film.

Presented in collaboration with my friends at INTOLERANT FILM COLLECTIVE.

 

THOSE SHOCKING SHAKING DAYS
Wednesday October 26
doors open: 8.15 PM
tickets: FILMHAUS WORM
address: Boomgaardsstraat 71, Rotterdam

 

AWL_008 // 88:88

by Isiah Medina                                                                     
Canada / 2015 / 65min / DV / English

You cannot pay your bill. – . Your heat and lights are cut off. -. You pay. The clocks initially flash 88:88, –:–. You set the clocks. You cannot pay. -. You pay. 88:88. –:–. Repeat. 88:88, –:–. Cut. -. You stop setting your clock to the time of the world. 88:88, –:– . Subtracted: – : you make do with suspension. 88:88, –:–, -.

88:88 is a multilayered, affectively disruptive experimental feature debut about the staticness of poverty, the fluidity of friendship and finding new ways of seeing things.  The film was extremely well received by young filmmakers worldwide, as they recognized a voice that only spoke in whispers before. With an introduction by film activist Kaya Erdinç.

88:88 is preceded by

CHRIST MASS SEX DANCE by Stan Brakhage  
US / 1991 / 16 mm / 6min / no dialogue

One of the few Brakhage films with a soundtrack, composed of six superimposed reels of images and the electronic sound piece 'Blue Suede' by James Tenney, sampling Elvis' semi eponymous hip shaker.

AWL_008 // 88:88 + CHRIST MASS SEX DANCE
Wednesday September 14
doors open: 8PM
tickets: WORM
address: Boomgaardsstraat 71, Rotterdam