EFEA is a community-led film festival taking place in May 2022 in the heart of East Anglia. The festival will showcase the very best experimental moving-image works from the region as well as internationally. We are looking for works that actively subvert cinematic conventions and use filmic language to abstractly delve into the many realms of human experience.
Vienna-based artist Johann Lurf is fascinated by image production and exhibition technologies, and his filmmaking practice is a diverse and thrillingly engaging demonstration of those passions. Across his eclectic body of truly inventive films, he employs an acute awareness of the possibilities for magic and revelation to be found in the interplay of real and filmic space. The elemental qualities of the moving image are activated via his conceptual and technical artistry and the medium itself always plays an active role. The result is an expanded adventure of cinema that involves the viewer in a thoughtful exploration of perspective and time.
In his second diary film, Mekas reflects on his life through footage shot across three distinct moments, largely structured around his time in America and Lithuania. In an intensely personal manner, Mekas uses voiceover and text to share memories on his initial arrival in America from Lithuania 1950–1953, filmed on his Bolex camera.
Rotten Love Redux tips its hat to the days of theatrical porn-going with a celebration of tactility, eroticism and utter decay. The program features 16mm porn and erotic films, each which incorporates decomposed or manipulated film stock in its depiction of erotic femme bodies. Working with both found and original footage, the filmmakers in this program employ a wide range of analog techniques—soaking, solarization, painting, scratching, burning—to alter celluloid’s chemical make-up and add a material element to the onlooker’s gaze.
The films of Jerome Hiler (1943) blend a beauteous celebration of the sensual world with a deep sense of introspection and solitude. They are occasions for reflection and meditation, on light, landscape, time and the motions of consciousness. Hiler's encounter with the films of Nathaniel Dorsky, Marie Menken, Gregory Markopoulos and Stan Brakhage deeply affected his own artistic path.
We travel back to the years 1968-1972 when Ledoux was a brilliant programmer and festival organiser in search for thoughtprovoking cinema... that is still relevant in 2022. These two rarely screened masterpieces circulated in the best festivals of the time, including Ledoux’s own Films Jeunes / Films Inédits.
“This cinema 'au féminin' reminds us what the imperialist eye had repressed: different modes of editing impulses where what is seen and heard alters our perspective.” – Serge Daney, writing about DEUX FOIS in Cahiers du cinéma.
