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. 

Stan Brakhage (1933-2003) is most well-known for the development, from the late 1950s onwards, of a cinema (he made over 450 films) in which the camera replaces the protagonist, freeing it from conventional positions and hence engagement with both subject and the viewer. His work is characterized by images where variations in exposure and focus, handheld camera movement, light flares, refractions and flashes are in a constant state of flux and interplay.

Cinema Parenthèse and iMAL are very pleased to invite the german filmmaker Helga Fanderl to present a personally selected super 8 film program. As a student of both Peter Kubelka and Robert Breer, Fanderl has created her own specific working methods, attitudes, and cinematic expressions. For instance, it is crucial for her to confront and work in the present, to process the various pro-cinematic impressions directly in the camera (as a kind of live filming) without any form of post-production.

CINEMA PARENTHÈSE #26 and  iMAL, Center for digital cultures and technology presentsGRIDS AND OTHER CONSTRAINTS: 16MM FILMS BY NICKY HAMLYN

NICKY HAMLYN is a British filmmaker, artist and published author working in Structural film. He has been making films for three decades. His work explores the basic elements of the filmic experience: the relationship between film space and the film frame, between time, flicker and movement, and between light and the material image.