Edwin(2020)

See Me: A Walk Through London's Gay Soho in 1994 and 2020(en)

This film weaves across sound, image, time, rhythm and place and is made up of a number of layers both sound and visual layered on top of one another, talking to and informing each other. It is made using digital transfer versions of c90 tape compilations I made between 1992-1995, juxtaposed with moving image footage of me in 2018 and 2020 and a typeface font graphic ‘See Me’ that I designed in 2005. The c90 cassette on screen is the cassette compilation that I still have from 1994. The film also includes drawings and photographs and other artworks from my personal archive as an artist from the last 25 years. As I walk down the streets that were so important in shaping my life as a young gay man living in London, I revisit the gay bars and pubs that have been my safe spaces for the last twenty years and more, spaces that are now closed.

La noirceur souterraine des racines(fr)

Shot in Quebec, Canada, The Subterranean Blackness of Roots is a 16mm film triptych which uses several processes specific to analog cinema (hand processing, optical printing, photochemical alteration). The film seeks to show the sensory experience of the invisible life of stones, plants and the nature that surrounds us. It’s a dive into the heart of matter, the essence of the vegetal world and the nourishing earth.

Tiny and Ruby: Hell Divin' Women(en)

This profile of storied trumpeter of jazz, Tiny Davis, and her cohort pianist-drummer, Ruby Lucas, is an amalgam of artifacts about the two women, accompanied with poetry by Cheryl Clarke.

Blow Job(en)

Andy Warhol directs a single 35-minute shot of a man's face to capture his facial expressions as he receives the sexual act depicted in the title.

The Space(fr)

"The boys won't let us play football at school": pencil and paper to hand, a minimalist treatise on the war of the sexes by a little girl who loves playing football.

Taking Stock(en)

Using his failed attempts at creating profitable stock footage, a filmmaker reflects on the absurd, mundane and funny side of being trapped inside your own head as an out of work, self-employed freelancer.

Forgotten Treasure(en)

This John Nesbitt's Passing Parade series short highlights the film preservation efforts of the Museum of Modern Art in New York. Several scenes from early newsreels are shown.

Arktis - Zwischen Licht und Dunkel(de)

Arktis is a poetic approach to the bizarre landscape of ice, rock, and water; a journey to the arctic ocean and surroundings, with images and sounds. Seventy one-second scenes of the arctic serve as the original material, which is then transformed in its texture, time lapse, color and light qualities to create a material reminiscent of landscape painting. The sound collage uses fragments from sounds of nature and samples from a piece of music for violin and song, which are also transformed in a manner similar to that of the visual pictures. (Jürgen Reble)

The Good Death(nl)

In the medical literature, a good death is a death that respects the privacy and sensitivity of the individual, where emotional, spiritual and religious needs and wishes are met, and where there is enough time to say goodbye. Founded in 2007, the Wish Ambulance Foundation continues to work to ensure that terminal patients with limited time can say goodbye to life in a “good” way. Today, the foundation fulfills the last wishes of people of all ages with limited time to live. Frank Halter, a retired policeman who work as a volunteer for the foundation, has been part of this voluntary work for 6 years. The Good Death focuses on the last wishes of Wim Beuving, a terminally ill man with limited time left, and his meeting with Frank Halter, who volunteers to make these wishes come true.

Stories for Murders(bg)

A father killed his son. In a state of alcoholic delirium, a young man murdered his friend. A 21 year-old boy shot a policeman. Faced with their death sentence, they tell about what happens with them at the moment when they are between death and ... death.

Satan Satie(en)

Erik Satie’s work is at the heart of modern music. However, who was Satie? An elusive genius or a visionary misanthrope? The film tries to sketch an identikit of the musician through his notes and the places he lived in. Musicologists mostly agree in describing Satie’s music as inhabited by voids and holes. The long pauses between one musical passage and the other are musical structures unto themselves; therefore, the filmmakers create a dissonant Satie-like universe in which empty spaces are adjacent to eloquent passages. Like a mysterious flower visible only to the eye that is willing to dance with its charm, the film unfolds little by little through mental associations and creative juxtapositions. There are no answers in the universe inhabited by the ghosts of Satie’s creations. Architectural forms and recollections from desires and acts of creative hubris compete to create a new world, which ultimately is the image of a new and more seductive pleasure principle.

Gentlemen in Storm and Gentlemen in Crown(sv)

“A retrospect of European events during the past forty years, composed from early documentary material, and including one of the earliest extant specimens of news-reel film dating from 1897.” - The [London] Film Society, 1936.

A Deer Falling Into the Sea(es)

Leicht haben wir's nicht miteinander(de)

Using the example of 16-year-old, physically disabled Wolfgang, the film shows how non-disabled people can help a disabled person and what should be avoided. It also shows that the tense behavior on both sides is caused by fear and insecurity and that the disabled person can also do something wrong, i.e. is a completely normal person.

Where We Are Heading(fr)

Paris, 2017: While the new president is being elected, the state of emergency lingers. It sneaks through the capital, on the lookout for old and new monuments to make its own. As the city struggles to regain its innocence, it gently slips its way into everyday life and seeps into the constitution.

The Amorous Indies(fr)

Les Indes Galantes (The amorous indies), is an opera-ballet created by Jean Philippe Rameau in 1735. He was inspired for one of the dance by tribal Indian dances of Louisiana performed by Metchigaema chiefs, in Paris in 1723. Clément Cogitore adapts a short part of the ballet by mobilizing a group of Krump dancers, an art form born in Los Angeles black ghetto in the 1990s. Its birth occurred in the aftermath of the beating up of Rodney King and the riots, as well as police repression it triggered. Amidst this coercive atmosphere, young dancers started to embody the violent tensions of the physical, social and political body. Both the tribal dance performed in Paris in 1723, and the rebelious Krump dancers of the 1990s shape a reenactment of Rameau’s original libretto, staging young people dancing on the verge of a volcano.

The Funicular of Mount Faloria(it)

Vertigine (Vertigo) is the original title of a fragment of around 4', signed by Michelangelo Antonioni, which is a part of the eight-minutes documentary La funivia del Faloria. The title was eventually modified in La funivia del Faloria because considered more effective to obtain the governmental prize (at the time the minimum length allowed was 8 minutes). Vertigine was shot in 1949 with the cinematographer Bellisario, who was director of photography in several documentaries in those years, but was edited only in 1950, after Antonioni had made his first feature film, Cronaca di un amore.

Correspondence(es)

In the form of a filmed epistolary conversation, two young, experienced filmmakers discuss film, present and past family, heritage and maternity. The personal and profound reflections—which are embodied in the graceful images taken day-to-day—are suddenly echoed by the political emergency of a country.

And my name is Marcel Gotlib ou Tout à la plume, rien au pinceau(fr)

Portrait of comic book artist Marcel Gotlib.

The Song of the Linen(nl)

Government ordered Industrial short documentary on the production of linen.