04 Sep 2023
Smokehouse
A group of friends reunite in the north of Scotland during summer.
Nasty Girl (The Sharpest Girl in Town)
Using visual assemblage as a technique to delve into the artist's own formation of personal narrative, self-possession and the aestheticization of compositional materials, Sodipo extends her long term fascination with images that pull, extend, transform and recontextualise notions of femininity, desire, and danger.
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This special 10th anniversary edition of the Found Footage Festival finds curators Joe Pickett and Nick Prueher in a nostalgic mood, delving deeper--perhaps too deep--into some of their favorite VHS finds from over years. But Volume 7 is also jam packed with newly unearthed treasures, featuring singing rabbis, petulant news anchors, coughing snake handlers, bodybuilding clowns, and two body parts never before seen in the festival! It's a celebration of a decade of Found. Record over and you'll die! Taped live at The Grey Eagle in Asheville, North Carolina.
Sunny Night 
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On 25th December 2011 the Georgian Patriarch Ilia II described his 34 year-long leadership as head of the Georgian Orthodox Church as a ‘sunny night’. Beginning in 1989, and going up to the present, the film essay Sunny Night tells of political and social events since Georgian Independence. A variety of formats and sources, disparate images and voices report on protests, recommencements, uproars and wars, and religious identity that centres around the dominant religion of the nation. In the midst of the ongoing shifts and the various state of affairs, the patriarch stands out as the only constant figure. Meanwhile the sermonised religion begins to take on radical forms, going as far as priests forming front row human-chains, leading protests of several thousand orthodox believers chasing a handful of LGBT activist throughout the streets of Tbilisi in May 2013.
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His Name Was Jason: 30 Years of Friday the 13th 
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Nobody Wants Your Film 
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Director Peter Judson's semifictitious tale opens a revealing window into the indie filmmaking process, capturing the trivialities, aggravations and enthusiasm that go into completing a picture. Using footage from an indie movie set, e-mails constructing a plotline about distributor difficulties and interviews with indie mainstays such as Steve Buscemi and Sam Rockwell, the film provides a riveting look at one producer's rejections and rewards.
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Shot by a reported “1,001 Syrians” according to the filmmakers, SILVERED WATER, SYRIA SELF-PORTRAIT impressionistically documents the destruction and atrocities of the civil war through a combination of eye-witness accounts shot on mobile phones and posted to the internet, and footage shot by Bedirxan during the siege of Homs. Bedirxan, an elementary school teacher in Homs, had contacted Mohammed online to ask him what he would film, if he was there. Mohammed, working in forced exile in Paris, is tormented by feelings of cowardice as he witnesses the horrors from afar, and the self-reflexive film also chronicles how he is haunted in his dreams by a Syrian boy once shot to death for snatching his camera on the street.
Dark Side of the Moon 
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Embracing a temporary visual impairment, a filmmaker immerses in her family’s 1990s home movies, composing a narrative that reimagines her father’s vision. They reconnect in the present, amid vulnerability, awkwardness and love: the story of a gardener and a one-eyed woman.
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Anything can happen on Russian roads and is precisely shot by the dashboard camera. Super-objective video registration grows into the strong image of Russian national character – with its permanent awaiting for the miracle and habitual approach to real dramas. A forest on fire as a symbol of Russian hell, a military tank at a car wash and car chase in the vicinity of Kremlin shot with a dashboard cam at the same time when Boris Nemtsov, the leader of political opposition, was shot dead near Kremlin. Dashboard cam depicts life in it’s purity as an unbiased observer.