Blissed is an experimental love story, both lyrical and graphic. Hovering in the sensuous haze where flesh and dream become one, it wordlessly explores the shared inner life of two people whose devotion to one another expresses itself in forms that still challenge convention. Sexually frank and poetically immersive, this plunge into one couple’s erotic utopia pushes the boundaries of what has previously been shown in Irish cinema in a way that is both sensitive and provocative.
In the last fifteen years, Spanish cities have seen the flourishing of heterogeneous communities devoted to maintaining analog film culture. Through material exchange, mutual influence, informal screenings, and friendship, three generations of filmmakers intermingle in Madrid, Barcelona, Coruña, and San Sebastian in an extraordinary moment for Spanish poetic cinema. These programs survey the output of 24 filmmakers who continue to work in 16mm and Super-8, cultivating a cinema in tension with the quotidian in a drive to capture or conjure experience.
Dates:
Saturday, May 13, 2023 (All day) to Sunday, May 14, 2023 (All day)
Master Class EXPERIMENTAL & PERSONAL FILMMAKING by Rouzbeh RashidiJune 26 – 30, 2023, Berlin Art Institute, Berlin, Germany
‘Experimental & Personal Filmmaking’ is a 5-day intensive immersive on-site program at BERLIN ART INSTITUTE from June 26 – 30, 2023 that exposes you to alternative film and video history, artist practice, and methods. In addition, it provides you with the knowledge to begin making your own experimental media.
In the early 1960ies, a number of filmmakers emerged in the United States and Europe to produce remarkable films that challenged any previous formal tendency in avant-garde filmmaking. The Structuralist filmmakers— including Peter Kubelka, Tony Conrad, Paul Sharits, and Kurt Kren––arranged their shots according to mathematical principles, attempting to produce non-narrative and non-illusionist films to oppose the cinematic apparatus.
The second program of Refle-x-périmental is dedicated to cine-portraits. It proposes an exploration of gestures of cinematographic (self)representation based on multiple intersections of the gaze.
From self-portraits (Snow, Unglee) to family (Schefer, Satake), familiar (Mekas, Baillie), or even domestic (Rey) portraits, along with political portraits (Glowczewska, Schefer), these films question the relationship between the filmmakers and their subjects.
