The films of Amy Halpern are devoted to the pleasures of light, of perception and of film as a medium. Their intellectual interplay, along with the aesthetics of pleasure and the resulting synesthetic associations, give rise to intimate, melodic, sensual experiences.
As a child, Amy Halpern made compositions using light and movement, like all children. She was interested in looking at volumes, both spatial and temporal, positive and negative spaces, and their representation and/or suggestion on screen.
This session is a representative sample of the film work of the poet, filmmaker, photographer and critic Juan Bufill, selected by himself. The author will be present at the screening to present it and converse with the public.
Storm de Hirsch—poet, painter, a woman pioneer among pioneers of the cinema—invented some of the basic forms of Super 8. However, few of her films have been screened since her death. This session combines her songs and sonnets in Super 8 with her Hudson River diaries, filmed in 16 mm.
We celebrate Jonas Mekas’ work with one of his great diary-films, shot between 1969 and 1984: portraits of his community of artist and filmmaker friends (Rossellini, Anger, Warhol, Frampton, Lennon…), about “places, seasons of the year, climates (storms, snow, blizzards), streets and parks in New York, brief escapes to natural areas, nothing special, minor celebrations held over the years, up until now, and that are retained as a record in these short and personal sketches" (Mekas).
A great deal of the films by filmmakers Arthur and Corinne Cantrill are based on the study of landscape, relating filmic shapes with the shapes of places. Not only does it provide a close-up of the rugged harshness of the Australian landscape, the films in this session - Bouddi, Island Fuse and Ocean Point Lookout – look into the materiality of the actual image and perception, posing us with questions about the nature of cinema and its capacity to create other worlds.
Print Generation is one of the canonic titles of structural cinema. Its starting point is a repetitive montage of sixty shots lasting one second. It’s a filmic minute of autobiographical images then submitted to scrupulous copying per contact process. Conducted in close collaboration with a professional laboratory, the title reveals J. J. Murphy’s yearning to research the photochemical properties of the medium following a systematic generative methodology.
The best known camera-less productions of Steven Woloshen share the verve and pace of the freer works of Norman McLaren and the joie de vivre of Robert Breer’s films. Colour, graphics and music take the lead in films that regale the eyes and the ears. But there is another interesting facet to the Canadian filmmaker, less known and more mature and, if possible, even more original, using found footage and formalistic mechanisms reminiscent of structural and materialist cinema, such as his latest film, The Dead Sea Scrolls.
To an observer, a flash of light in the dark would draw a kind of constantly moving arabesque that catches their eye. It does not take much more to realise what cinema is: perhaps just a projector running in a dark hall or the projection of the two films that make up this session: Lights, by António Palolo, ★,by Johann Lurf,, where abstract images and research into light are followed by figurations of the sun, constellations, stars and galaxies.
The filmed letter can take the form of dedication, song, offering, celebration, postcard. “Correspondences: Films as Letters”, Punto de Vista’s cycle for 2018, takes as its starting point the idea that, in cinema, an exchange of letters does not have to be sent, and even admits the possibility of making a film letter without a recipient in mind.