15 November 2019
Istanbul International Experimental Film Festival 2019
12:00 P.M. | Salt Beyoğlu | Panorama: ITALY | Nomadica
The more one moves away from Earth, the more one goes backwards, in time and space. Cinema is that movement, which is also a moment outside of memory, that recreates new visions while looking at the past (like a continuous present). Cinema, as if it was always the first time. With a program such as this one, we’d be tempted to cut the opening and closing credits of each film, and transform them into one unified masterpiece, but we’ll leave this possibility to your imagination.
Andrò a ritroso della nostra corsa (I will go backwards of our path)
by Mattia Biondi, Ita, Super8 (found footage), 3min, 2019
“Andrò a ritroso della nostra corsa” is a backwards journey through the seasons and the units of the language. To change the prose of the world, its intact clock. There is always a place more thoroughly, lost images in minimun intervals.
Ab/OVO
by Luca Ferri, Ita, Super8, 25min, 2016 (sub eng)
In a desert and hostile paradise, between mountains of sand and solitary camels in perpetual journey, life is renewed with a promise of love in the shade of a lone tree. Adam and Eve have a chance. The last chance to heal and create a new progeny of more decent human beings. Nine long takes in super 8mm colour in which we took Adam and Eve and had them redo everything over again, from the scratch.
Black Songs
by Tiziano Doria e Samira Guadagnolo, Ita, Super8 -> 16mm, 5min, 2019 (silent / sub eng)
A poetic recollection of a personal and collective memory, the work dissects, decomposes, fragments, distills and then re-creates anew – in a time that beats in repeated rythm, slow and circular – the dream of an ancestral childhood, of nomadic shepherds and tangled bushes of war and raids, and in this magnified gaze, the film wonders about the meaning and the nature of it’s own observations.
Canti Neri (Black Songs) comes from the analysis of a private and family archive, of our property, of which we have selected some frames transposing them from S8mm to 16mm.
The original films have been combined in a new way, focusing on details that had escaped from the eye of the operator, on the periphery of the image, extrapolating details, dissolving the flow of action and reiterating it in a dilated time.
Merci mais non merci
by Alessandra Beltrame, Ita, super8, 13’, 2018 (sub eng)
Nico, reflects on existence, identity and responsibilies
Rodez
by Stefano Miraglia, Fr, HD 4:3, 3min, 2017 (silent)
An exploration of the Rodez Cathedral. A study on colour, repetition and flickering, composed of 292 photographs. “A stunning piece of ecclesial psychedelia!” (Sarah Bliss)
Vaghe Stelle – MIZAR
by Mauro Santini, Ita, 4K to HD, 11min, 2017
“Vaghe stelle” is a seven-chaptered film, conceived as a musical album and composed of seven movements, which can be watched singly (like songs), or in the established order (like a record) or also mixing the films creating new combinations or possible narrations. The ‘songs’ are seven as the principal stars of the Ursa Major. It will be a nocturnal wandering with the starry sky as a reference: an earthly pilgrimage looking for epiphanies or the drift of a hypothetical interstellar trip.
Luminous variations in the city skies
by Giuseppe Spina, Ita, HD (from photographic plates), 6min, 2019 (silent)
Between 1932 and 1957, at the Specola Tower in Bologna, a new optical technology was invented, one that would revolutionize outer space observatory methods. Thirty years of research were necessary for the astronomer Guido Horn D’Arturo to invent the specchio a tasselli – also called multimirror or segmented mirror – an archetype of today’s most advanced telescopes. This silent film, made by Giuseppe Spina, is composed of digital scans and blow-ups of Horn D’Arturo’s plates.
The moon, by Henry Draper (1863)
