Film-hommage à Chantal Akerman, le nouveau court de Vivian Ostrovsky s’amorce avec leur première rencontre au début des années 70. Mêlant ses propres films à ceux de Chantal Akerman, la réalisatrice fait revivre quelques instants la personnalité de Chantal. Quarante années d’amitié condensées en quatre minutes…
Vivian Ostrovsky, (b.1945, New York) grew up in Rio, studied film studies and psychology in Paris. When she started filming in 1980, she focused on using analog formats - especially Super8 - for experimental cinema. Her signature collage shorts and avant-garde documentaries have been shown at the main film festivals (Berlin, Rotterdam, Viennale, Tribeca) and have been part of collections such as the MOMA, NY, the Centre Pompidou in Paris and the Freunde der Deutschen Kinemathek in Berlin. Her moving image work is noted for its span of super 8, 16mm, video and digital media, found footage and immersive installations. This screening includes films connected to Latin America and more particularly Brazil. Whether more personal or historical projects, they are always infused with dreamlike playfulness and intimate nostalgia.
The filmmaker begins to view CHARACTERS, her first feature film made in 2011, not from the outside as a product to be consumed, but from the inside, as an engaged performance of consciousness in and through which the story is both lost and regained in the actual process of filmmaking itself. Exploring the paradoxical boundary between two worlds, she focuses on the basic conditions of existence, identity and survival of an individual in a fictional world.
Since 2003 when she received the M.F.A. in Film/Video/New Media from the School of the Art Institute of Chicago, Kwang-Ju Son(b.1970) has presented her varied short projects of both film and video, at diverse venues & international film festivals.
In September the child Frederico learns from his teacher that if the heart stops, people die. In October his mother notices a panorama of changing seasons and horizons. Still lives in motion in a small town.
Diogo Costa Amarante was born in Portugal where he graduated in Law. His first film “Jumate/Jumate” was selected in several international film festivals and was awarded best film in the Documentamadrid08 / Spain, Golden boll film festival / Turkey, and Reykjavik IFF. In 2009, Diogo participated in the Berlinale Talent Campus and directed his second documentary film “In January, perhaps” which was also selected in many festivals and won Jury Prize at the Documentamadrid09 and a special mention of the Jury in the SalinaDocFest 09 / Italy. “The White Roses”, Diogo’s Pre-thesis film, had its world premiere at the 64th Berlin International Film Festival in the Official Shorts Competition and was awarded in the Festival Européen du Film Court de Brest . Currently Diogo finished as a Fulbright Scholar his Master of Fine Arts at the New York University / Tisch School of the Arts and was funded to develop his first feature script, “Migrar pelas Sombras”.
Vivian Ostrovsky addresses this film tribute to Chantal Akerman, summarizing forty years of friendship. Kwang-Ju Son revisits the feature length film “Characters” that she produced in 2011, through a non-narrative performance, reflecting on the very conditions of existence and identity of the characters in a world of fiction. On the island and global city of Taiwan, Liang-Hsuan Chen films the day of a woman fluctuating between her beliefs and desires. Over the passage of time, different generations merge, paving the way for a new approach to the spaces and temporality of the city. Diogo Costa Amarante follows a child who becomes aware of mortality, like a moving still life.
Can a horse save a life? In Clondalkin (Dublin) that’s exactly the case. In a district with a lot of problems and not may of prospects, young people face drugs, prison and crime as their only path. But some of them manage to escape thanks to an unusual hobby. They tame wild horses and become… urban cowboys. When 14-year-old Dylan hits a bad streak in his life, he finds comfort in Shelly, a white mare that quickly becomes his whole world. Even though taming wild horses is illegal in Ireland and Shelly’s hooves are not used to the concrete streets, their unlikely friendship grows stronger.
Born in 1981, he graduated from the Łódź National Film School and from the Wajda School in Warsaw. The short documentaries and fiction films he has made so far have received wide publicity at numerous film festivals around the world and have won many prestigious awards. His documentary Rogalik got IDFA nomination in 2012. It has also been shown and awarded at festivals such as Zagreb Dox, Alcine Festival (First Prize), and festivals in Oberhausen, Beijing, Bucharest, Cracow and others. Apart from directing, Paweł Ziemilski is involved in social animation, organizing workshops for so-called troubled youth.
SYNOPSIS n GAS IS OVER, a boy’s dreams revolve around one particular lake. His dreams seem as if they are about to come true when he sets off for the lake with his father. However, their journey is riddled with challenges and the boy’s father struggles to keep his promise.
Director Askhat Kuchinchirekov Art film school (Almaty 2002-2007) 2004-2008 Actor film Tulpan Director Sergey Dvortsevoy (the film won UN CERTAIN REGARD Prize at Cannes, 2008) 2013 Firs short film Gas is over Best Regard Askhat
C`est au bout du conte que la sympathique poupée Pinocchio, se transformait en homme après avoir renoncé à faire des bêtises et s`être conformé au bon sens de rigueur. D`abord il s`était réjoui de cette récompense. Mais un beau jour, Pinocchio vit une multitude d`animaux empaillés dans un musée. Des êtres du passe, mais qui en même temps représentent bien plus que ce qu`elles étaient. Plus libres que lui, Pinocchio, libres de peupler son imagination. Mais le garçon en bois réalisa cela bien plus tard, quand, à l`âge adulte, il se rappela ses larmes en rentrant du musée, où, loups et ours l`attendaient le regard fixé sur lui.
Alexandra Gulea Vit et travaille entre la France, l’Allemagne et la Roumanie 1970 - née à Bucarest, Roumanie FORMATION 1988 - Lycée des Beaux-Arts “ N. TONITZA” – Bucarest, Roumanie Baccalauréat « arts plastiques » 1990 - Académie Nationale d’Art – Bucarest, Roumanie 1992/1993 - Ecole Régionale des Beaux-Arts - Rouen 1993/1997 - Ecole Nationale Supérieure des Beaux-Arts (ENSBA) - Paris Diplômé avec les Félicitations du Jury (Atelier J.M Alberola) 1999/2012 – Etudes Film Documentaire, Hochschule für Fernsehen und Film (HFF) - München, Allemagne Diplôme EXPERIENCE PROFESSIONNELLE ART PLASTIQUE 1990 – 2016 – Participe à plusieurs expositions de groupe et personnelles “ en France, Allemagne et Roumanie CINEMA 1997 . Assistante de réalisation “ La Folie des têtes” - film roumano-allemand de Thomas CIULEI . Assistante de réalisation “Terminus – Paradis” - film franco-roumain de Lucian PINTILIE REALISATION 2000 "Anonim"- aka “Anonymous”, 11` Documentaire International competition Kurzfilmtage Oberhausen, etc. Prix: FFF Bayern, Munich Documentary Film Festival Minority Prize Mediawave, Györ-Hungary 2001 "The fourth wall"-17`, fiction avec Werner SCHROETER German competition Kurzfilmtage Oberhausen 2003 "Hacker", 5 x 52’. Fiction, Série TV Prix APTR pour la meilleure fiction 2004 "Dumnezeu la Saxofon, Dracu’ la Vioara" aka “God plays Sax, the Devil Violin” 45` Documentaire IFF Rotterdam, Cinema du Reel Paris, IDFF München, IDAFF Leipzig, IDVF Kassel, InternationaleKurzfilmtageOberhausen, MoMA Prix: Prix du meilleur Film Court, Lola, Allemagne Golden Key, Kassel Documentary Film & Video Festival Best Student Film, Molodist, Kyiv,Ukraine DAAD Prize, Germany Prix du Film Long, Les Ecrans Documentaires, France Mention Henry Langlois, Poitiers, France 2007 "Azi eram Frumoasa, Juna" aka “Today I was Young and Pretty” 52`, Documentaire Festival dei Popoli, Firenze, Italie Cronograf, Moldavie Transilvania Int. Film Fest., Cluj, Roumanie Musée National d’art Contemporain (MNAC) Bucarest, Work of the Month. Cinema Elvira Popescu, Bucarest 2013 “Matei Copil Miner” aka “Matei Child Miner” aka “Matei l’Enfant des Collines” 80`, Fiction IFF Rotterdam, Cinema Jove Valencia IFF Spain, Zlin IFF for Children and Youth Czech Republic, Festival du Film d’Education, Evreux, France, Festival du Film de Toulouse, France, 16eme Rencontres du Cinéma d’Europe, Aubenas, France, TIFF Romania, Anonimul Romania, Regiofun IFF Katowice, Poland. International Women Film Festival, Köln, Germany. Werkstatt Kino, München programme. Distribution Zootrope Films Sortie Salle prévue. etc Prix: Nominé au “Big Screen Award” IFF Rotterdam Sarajevo IFF, Prix “Work in Progress” Premio “Lino Micciché”, “Young Critics Award” au Pesaro IFF du Nouveau Cinema Italie. Grand Prix du Féstival International des Producteurs Regiofun” – Katowice, Pologne 2013 MONTAGE 2001 "asta e"- aka “that’s life” 90`, Documentaire de Thomas CIULEI Prix : Firenze, Belfort, Kalamata, etc 2007 “Podul de Flori” aka “Le Pont de Fleurs” 90` Documentaire de Thomas CIULEI Prix: Cinema du Reel (Paris), GoEast (Wiesbaden), TIFF (Romania) etc. 2008 “Week-end cu Mama” aka “Week-end with Mom” 90’ Fiction de Stere GULEA 2013 “Sint o Baba Comunista” aka "I’m an Old Communist Hag" 90’ Fiction de Stere GULEA
"Le léopard se couchera près du chevreau Le loup habitera avec l’agneau Et le jeune garçon lesconduira" 12 + 1 enfants et la carcasse d`une baleine échouée
Konstantina Kotzamani is a graduate student of Film Department of Fine Arts of Thessaloniki. Her short movies have participated in major International Festivals and have received several awards. Her film Washingtonia premiered in Berlinale 2014 and was nominated for the Golden Bear. Washingtonia participated in more than 120 International Film Festivals and in 2014 was awarded by the Greek Film Academy as the best Short Film. One year later Washingtonia received the EFA (European Film Academy) nomination for the best European Short. Konstantina Kotzamani was chosen to take part and present her work in Future Frames at the 50th Karlovy Vary Film Festival 2015 and at the same year, her short film Yellow Fieber premiered in Locarno Film Festival 2015 in international competition Pardi di Domani. Her last short film Limbo co- produced between Greek Film Centre and French CNC, premiered in Cannes , Semaine de la Critique 2016 and after that gained awards in many other International festival such as Palm Springs ( future filmmaker award) , Vila do Conde ( Best Fiction ) , Rio de Janeiro ( Best Short Film , Best director) ect.. Limbo was also nominated for the European Academy Awards 2016 as best European Short.
In a working class suburb of Dublin, Pawel Ziemilski films a young boy and the wild horse that he has trained. Askhat Kuchinchirekov follows the journey of a man and his son who dreams of seeing the great lake. Alexandra Gulea and Nicu Ilfoveanu reinterpret the story of Pinocchio, initially happy to be a man, then lamenting his condition after seeing stuffed animals staring at him. Konstantina Kotzamani bases a film on his dreams: a leopard will be kept with the goats, wolves will live with lambs and the young boy will lead them.
Engravings in the genre of "World Upside Down", known since the 16th century, depict such scenes as a pig gutting the butcher, a child punishing his teacher, a man carrying a donkey on his back, man and woman exchanging roles and dress, and a beggar in rags magnanimously bestowing alms on a rich man. These engravings contain demons, chimeras, fish flying through the sky and death itself, variously with a scythe or in the mask of a plague doctor. The title of the work, Inverso – both an Italian "reverse, the opposite" and the Old Italian "poetry," and Mundus – the Latin "world," hints at a reinterpretation of reality, a poetic vision. In our interpretation, the absurdist scenes from the medieval carnival appear as episodes of contemporary life in a multichannel video installation. Characters act out scenes of absurd social utopias and exchange masks, morphing from beggars to rich men, from policemen to thieves. Metrosexual street-cleaners are showering the city with refuse. Female inquisitors torture men on IKEA-style structures. Children and seniors are fighting in a kickboxing match. Inverso Mundus is a world where chimeras are pets and the Apocalypse is entertainment.
AES+F achieved worldwide recognition and acclaim in the Russian Pavilion at the 52nd Biennale di Venezia in 2007 with their provocative, other-worldly Last Riot (2007), the first in a trio of large-scale, multichannel video installations of striking originality that have come to define both the AES+F aesthetic and the cutting edge of the medium’s capacities. The second of the series, The Feast of Trimalchio (2009), appeared in Venice in 2009, and the third, Allegoria Sacra (2011), debuted at the 4th Moscow Biennale in 2011. United as The Liminal Space Trilogy, this tour-de-force series was premiered in September 2012 at the Martin-Gropius-Bau, Berlin, and the Moscow Manege, the central exhibition hall of the artists’ home city. The Trilogy was shown in the Museum of Fine Arts in La Chaux-De-Fonds, Switzerland (June–September 2014). Most recently all three videos were shown at Albright-Knox Art Gallery, Buffalo, NY (June-September 2015). In 2015 AES+F presented the new project Inverso Mundus at 56th Biennale di Venezia. AES+F received Sergey Kuryokhin Award 2011, the main award of the Kandinsky Prize 2012, the main award of the NordArt Festival 2014, and Pino Pascali Prize 2015 (18th Edition) – all for the project Allegoria Sacra. AES+F were awarded Bronze Medal (2005) and Golden Medal (2013) of Russian National Academy of Fine Arts. AES Group was originally formed in 1987 by the conceptual architects Tatiana Arzamasova and Lev Evzovich and the multidisciplinary designer Evgeny Svyatsky. Exhibiting abroad from 1989, the group expanded its personnel and name with the addition of the photographer Vladimir Fridkes in 1995. AES+F’s recent work has developed at the intersection of photography, video and digital technologies, although it is nurtured by a persistent interest in more traditional media — sculpture especially, but also painting, drawing and architecture. Deploying a sophisticated, poetic dialogue among these media, and plumbing the depths of art history and other cultural canons, AES+F’s grand visual narratives explore the values, vices and conflicts of contemporary culture in the global sphere. For more than a decade, works by AES+F have been showcased in signature festivals and biennial exhibitions of contemporary art around the world, including — in addition to Moscow and Venice — those of Adelaide, Gwangju, Havana, Helsinki, Istanbul, Kiev, Lille, Lyon, Melbourne, St Moritz, Sydney, Taipei, Tirana and Toronto. Their work has also been featured in influential events devoted to new media — such as ARS Electronica (Linz), Mediacity Seoul and Video Zone (Tel Aviv) — and photography — such as FotoFest (Houston), Les Rencontres d’Arles and Moscow’s Photo Biennial. By now the subject of almost 100 solo exhibitions at museums, exhibition spaces and commercial galleries worldwide, works by AES+F have been shown in such prestigious venues as the Neuer Berliner Kunstverein, ZKM (Karlsruhe), Casino Luxembourg, Kiasma (Helsinki), the Moderna Museet (Stockholm), Tate Britain (London), Institute of International Visual Arts (Iniva, various UK venues), the Passage De Retz (Paris), the Vanhaerents Art Collection (Brussels), MACRO Future (Rome), the Museo Thyssen-Bornemisza (Madrid), the State Russian Museum (St Petersburg), the Museum of Fine Arts (La Chaux-de-Fonds) and many others. Among the important European institutions collecting their works are the Moderna Museet (Stockholm), the Sammlung Goetz (Munich), the Neue Galerie Graz, the Maison Européenne de la Photographie (Paris) and the Centre Georges Pompidou (Paris). Works by AES+F are also presented in Australian public collections at AGSA / Art Gallery of South Australia (Adelaide) and MONA (Tasmania). Their works are also found in the foremost collections of Russia, including the Multimedia Art Museum Moscow, the Moscow Museum of Modern Art, the State Tretyakov Gallery (Moscow) and the State Russian Museum (St Petersburg).
Engravings with an upside down world as theme have been around since the 16th century, they depict a pig disembowelling a man, a child punishing his teacher, a man carrying a donkey on its back, a man and a woman swapping roles and clothes, and a beggar in rags magnanimously giving money to a rich man. These engravings depict demons, chimera, flying fish in the sky and death. In ‘Inverso Mundus’, these absurd medieval carnival scenes appear in the form of chapters in contemporary life. The characters enact absurd utopian social scenes, swap their masks and the tramp becomes a rich man, the policeman a robber. Metrosexual garbage men bombard the streets with rubbish. Inquisitors torture men on Ikea style structures. Children and old men are pitted against one another kickboxing. ‘Inverso Mundus’ is a world where chimeras are animals and the apocalypse is entertaining.