Black Fish
Darkness and light, as seen by VIFF’s favourite Buddhist erotist. Part of the TOKYO LOOP animation anthology produced by ImageForum Japan.
Pirouette, a dreamlike journey, a dissolving into a flowing human-animal-plant-machine consciousness, follows a sound artist who records horse sounds with her own body while a cellist on the street invades her imagination. This is the psychedelic conclusion of a trilogy about horse sounds: Passage - Piaffe - Pirouette.
Darkness and light, as seen by VIFF’s favourite Buddhist erotist. Part of the TOKYO LOOP animation anthology produced by ImageForum Japan.
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A man tries to escape a never-ending dream.
After committing a gruesome act of violence, the fallen angel September reflects on their relationship with Rowan, the human who came to their aid.
Across the installation's multiple channels, the camera circles a group of artists as they sit together in a field eating, licking, and squeezing ripe tomatoes. Throughout the ever-changing scene, kisses, whispers, and caresses are shared with a casual, gentle intimacy that reflects interconnectivity and abundance. These queer and desirous exchanges constitute a portrait of collectivity wherein individuals come together as distinct parts of a whole.
Divided into 26 parts, an attempt to remake James Benning's film, YouTube (2011) with similar internet footage after 13 years.
Jess confronts a piece of her past on the platform…
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A series of lights flashed on screen in the form of 36 pictures and 3 videos, all contributing to a pattern.
Young boy confesses his love toward a grocery store chain in a abstract manner.
“Leda + Swans” depicts an infernal, mythic birth of cinema, dredging the violence and horror from Wallace McCutcheon’s comic short film “Photographing a Female Crook” (1904). Leda, who may or may not be a falsely accused young woman, is brought in for a mugshot by two officers. She first attempts to avoid the camera’s gaze, and, when overpowered and manhandled, contorts her face to ruin the photograph. However, her small rebellion proves futile; she was already being recorded, objectified, mapped, and co-opted by the Godhead of the director. As her body and image are repurposed and transmuted ad infinitum, the filmic universe also explodes into a supernova. What is born out of this suffering and manipulation is another example of our sublime medium and modern muse. She will not be last the Leda, and she may not even be the first. Who is the guilty party here? Is beauty a chimera in traditional cinema? Has the ephemeral cinema of the attractions and distractions era gone anywhere?
Set in Munich's petty-bourgeois Westend, film documents life at home with former Fassbinder actor, Warhol collaborator, and horror movie director Ulli Lommel. Rather than a straight documentary portrait of this bohemian household, the camera prefers to follow the narrative impulses of the family members. Lost in serious play, the kids improvise hypnotic death scenes while their mother claims to come from a planet where everything is "ethereal and incorporeal." As parent-child relations are unscripted and re-scripted on the fly, the dilated time of a collective daydream is punctuated by the ordinary sounds of an electric toothbrush, vacuum cleaner, and piano.
Time lapse of clouds and a mimosa tree to the silhouette at dusk.
A film without a lens.
This short, started early on into sobriety, finished about nine months in, is a collage of diaries and notes, collected from within addiction and into recovery.
Lake gazes down at a still body of water from a birds-eye view, while a group of artists peacefully float in and out of the frame or work to stay at the surface. As they glide farther away and draw closer together, they reach out in collective queer and desirous exchanges — holding hands, drifting over and under their neighbors, making space, taking care of each other with a casual, gentle intimacy while they come together as individual parts of a whole. The video reflects on notions of togetherness and feminist theorist Silvia Federici’s call to “reconnect what capitalism has divided: our relation with nature, with others, and our bodies.”
Experimental filmmaker Rubén Gámez explores the iconography of the maguey plant in Mexican cinematic history.
1982. 15'50". A French black and white experimental film. Bloody, violent, and disturbing. Full production credits unconfirmed.
In a not so distant future artificial intelligence speaks to suffocating humanity. On the last journey, humanity is escorted by surreal entities, through twists and turns that led to humanity’s last breath.
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