SATURDAY, JULY 5th
16:00

DECONSTRUCTION /
RECONSTRUCTION

Nicolas WAGNIERES, Benoit PEVERELLI : Hotel Jugoslavija 1.0
Documentary | 16mm | color | 0:12:50
Switzerland/Serbia | 2006 [•]

Jérôme SCHLOMOFF : Amsterdam Reconstruction
Experimental film | 35mm | black and white | 0:20:00
France/The Netherlands | 2007 [•]

Marina CHERNIKOVA : Urban Surfing II b/w
Video | dv | color | 0:03:00
The Netherlands | 2007 [•]

Rossella BISCOTTI, Kevin VAN BRAAK : New Crossroads
Experimental documentary | dv | color | 0:21:11
Italy/The Netherlands | 2006 [•]

Bertrand DEZOTEUX : Roubaix 3000
Fiction Documentary | dv | color | 0:09:00
France | 2007 [•]

Florin BOBU : Best Man
Video | dv | color | 0:01:20
Romania | 2007 [•]

Vincent MEESSEN : A Broken Rule
Video | dv | color | 0:02:06
Belgium | 2007 [•]

Damir OCKO : The Boy with a magic Horn
Video | hdv | color | 0:16:00
Croatia | 2007 [•]

Nicolas Wagnières and Benoit Peverelli film the gigantic hotel Yugoslavia in Belgrade, built as a symbol of greatness and unity under Tito. After having been abandoned during the war and then subjected to many renovation projects, it is today a metaphor of the Balkan’s recent history. With the use of a pinhole camera, Jerôme Schlomoff films four building sites of cultural institutions in Amsterdam. These locations, charged with history, are confronted with the vision of an industrial world, in analogy or in opposition with the vision of an untouched nature. Marina Chernikova confronts and transforms urban fragments from three different cities, Moscow, Tokyo and Paris. The usual representation of the city as an homogenous and clearly structured whole switches places with a dynamic, fragmented and individual perception of the urban environment. With Rossella Biscotti and Kevin van Braak we follow locals of a Cape Town neighbourhood who are building a five meter high wooden tower. Other locals are then invited to dismantle the tower and to take fragments home, thus giving the project all its meaning. Bertrand Dezoteux has recorded some of his entourage’s conversations. He then asked inhabitants of Roubaix to mime in playback these recorded voices and to embody the words which are not theirs. Florin Bobu films an absurd trip across a road, undertaken by the best of men. By reusing the codes of social protests, Vincent Meesen directs 6 characters carrying placards with words written on them with luminous letters, creating a both political and poetic manifestation. Damir Ocko directs hybrid creatures in the remains of the biggest architectural project ever imagined, a 250 000 m2 hospital planned in Croatia in the 70s. A Wagnerian intrigue unfolds in this surreal set.

SATURDAY, JULY 5th
18:00

LINK / UNLINK

Gordon MATTA-CLARK : The wall
Experimental documentary | 16mm | color | 0:15:04
USA | 1976-2007

Daniel KÖTTER : Checkpoint
Experimental film | super8 | color | 0:07:13
Germany | 2006 [•]

Carlos TRONCOSO : Tan lejos, tan cerca
Animation | dv | color and b&w | 0:01:30
Peru | 2007 [•]

Bouchra KHALILI : Straight Stories - Part 1
Video | dv | color | 0:10:06
Morocco/Spain | 2006 [•]

Lia LAPITHI SHUKUROGLOU : Receipt for marinated crushed olives
Video | dv | color | 0:03:30
Cyprus | 2006 [•]

Lia LAPITHI SHUKUROGLOU : Electricity
Video | dv | color | 0:02:30
Cyprus | 2006 [•]

Dana LEVY : The House by the wall
Video | dv | color | 0:04:43
Israel | 2005 [•]

Jenny MARKETOU : De_lete
Experimental documentary | dv | color | 0:02:00
Greece/USA | 2006 [•]

FENZ : Crossings
Experimental film | 16mm | color | 0:05:00
USA | 2006 [•]

Vincent MEESSEN : A Broken Rule
Video | dv | color | 0:02:06
Belgium | 2007 [•]

Kevin EVERSON : Emergency needs
Experimental film | 16mm | color | 0:07:00
USA | 2007 [•]

Herman ASSELBERGHS : Capsular
Experimental documentary | dv | color | 0:24:00
Belgium/Spain | 2006 [•]

“The Wall” is the edit of a rare 1976 documentary of a performance by Gordon Matta Clark in Berlin, where he set off with the intention of blowing up a part of the Wall. Prevented by his friends from doing do, he writes “Made in America” and sticks publicity posters over the graffiti. Daniel Kötter films at Marienborn the old frontier between East Germany and West German, in two continuous shots, up to the moment when the two cameras cross over one another. Carlos Troncoso reworks a satelite map of Peru, inverting perspectives to global critical ends. Bouchra Khalili documents an experience of wandering in an ambiguous frontier zone where the physical and imaginary geographies become indiscernible. Lia Lapithi Shukuroglou documents the contemporary Chypriot situation with two of her typical features; one culinary, the other electrical. Dana Levy constructs her video from the starting point of photographs taken in an abandoned house on Palestinian territory near the wall of separation. Jenny Marketou films the frontier as a point of connection. The camera captures the human activities along the wire fence of separation between Mexico and the United States. Fenz creates a video response to the documentary of Chantal Akerman, «De l’autre côté» (“From the Other Side”) and juxtaposes two points of view of the frontier, from one side and from the other. Taking up the codes of social protest, Vincent Meesen directs six characters brandishing words written in luminous letters, a political and poetic demonstration. Kevin Everson renders hommage to the cinema of Gus Van Sant, with a fiction/reconstruction of the African-American riots in Cleveland in 1968. Herman Asselberghs departs into the Spanish enclave of Ceuta, reflects on the pertinence or the insignificance of images; and on imprisonment as both symbol and symptom of a society.

SATURDAY, JULY 5th
20:00

CARTE BLANCHE TO PEDRO COSTA
In the presence of the filmmaker

Pedro COSTA : Ossos
Fiction | 35mm | color | 01:33:00
Portugal, France, Denmark | 1997

Estrela d’Africa, a creole neighborhood on the edges of Lisbon. A newborn child will live through many deaths. His young mother, Tina, tries to commit suicide in order to spare him from a life of poverty, one that is lost before ever beginning. Rescued by his father, he will outlive many of those around him.

SATURDAY, JULY 5th
22:00

FAKE CINEMA

Tilman KÜNTZEL : Bodyguard
Video | dv | color | 0:06:40
Germany | 2007 [•]

Catherine ROSS : Trilling
Video | dv | color | 0:03:52
USA | 2006 [•]

Eddie D : Pas de deux
Video | dv | color | 0:01:55
The Netherlands | 2007 [•]

Tal AMIRAN : Untitled (band in a studio)
Video | dv | color | 0:02:23
United Kingdom | 2006 [•]

Filipa CESAR : F for Fake
Experimental documentary | dv | color | 0:19:00
Portugal | 2005 [•]

Antonio CONTADOR : June 8th
Video | dv | color | 0:00:39
Portugal | 2007 [•]

Luke SIECZEK : Phantom
Experimental video | dv | color | 0:06:20
Poland/USA | 2007 [•]

Nisi JACOBS : Yoshiko
Experimental video | dv | color | 0:05:00
USA | 2007 [•]

Tobias DAEMGEN : Duschszenarium
Experimental video | dv | color | 0:01:44
Germany | 2007 [•]

Norbert PFAFFENBICHLER : Mosaik mécanique
installation, Experimental film | 35mm, num. | black and white | 0:09:30
Austria | 2007 [•]

Volker SCHREINER : Cell
Experimental video | dv | color | 0:04:27
Germany | 2007 [•]

Volker SCHREINER : From Afar
Experimental video | dv | color and b&w | 0:05:25
Germany | 2007 [•]

Nicolas PROVOST : Gravity
Experimental video | dv | color | 0:06:07
Belgium | 2007 [•]

Tilman Küntzel compiles different televised sequences where politicians and their body guards appear and underlines the relation of the political discourse with potential danger. Catherine Ross takes sequences from a televised game and creates two series of body movements, controlled or clumsy. Eddie D choreographs Dutch politicians and underlines the recurrences in their speeches. Tal Amiran films the panoptic set-up for the shooting of a video clip, a circle of cameras around an empty center. An unexplained but meaningful situation. Filipa Cesar creates a video on the concept of lying and truth, on falsification concerning both art and life, choosing Orson Wells’ last film «F for Fake» as a starting point. Antonio Contador alters a short sequence of Taxi Driver. Luke Sieczek recomposes two scenes of Tourneur’s «La féline» (“The Feline”), irradiated by a cathodic light. Nisi Jacobs rends a cinematographic homage to Yoshiko, her neighbour and friend, who left Japan in the 1960s. Tobias Daemgen recomposes Psychose, in a visual chessboard, and underlines the relationship of editing to time. Norbert Pfaffenbichler arranges, in a symmetrical grill, simultaneously and in a loop, each shot of a 1914 comedy. He thus spatializes duration, giving a temporal status to the general frame of the image. Volker Schreiner, with «Cell», offers an ultimate cinema experience: no more message, only medium, rooms lit by the white screen of a television like omens of an imminent apocalypse. In “From Afar” the work of editing becomes literally the rewriting of a text, from 200 fragments of film on which appear manuscript notes. Nicolas Provost strips down the archetype of the cinema kiss and recomposes a long embrace in which the roles dissolve.