We present a sample of the personal cinematographic work of Pierre Clémenti (better known as the actor in Luis Buñuel’s Belle de jour and films by Pasolini, Visconti, Bertolucci and Garrel): diaristic, countercultural, lysergic films. 

Many of Hannes Schüpbach’s films, like the ones we’ll see in this session, relate the forms present in writing, dance, music, manual work and nature with film creation. This conjunction gives rise to works that raise questions about perception itself and essay another relationship between images beyond the figurative and the narrative.

This season’s opening session presents a series of films that address the relationship between women and musical composition. These are films with composition models very similar to those of music, scores where the sounds are notated in the form of images that work on their synchrony, where what is seen and what is heard is often materially the same. These kinetic compositions by Eugènia Balcells, Mary Ellen Bute, Lis Rhodes and Blanca Rego serve as a pretext to highlight the presence of female composers in the history of music.

Parallel to their unique cinematographic self-portraits, Maria Klonaris and Katerina Thomadaki launched their Série Portraits in the early 1980s, in which they reinvented the art of film portraiture by composing images of women who don't represent any preconceived idea of "femininity" and by engaging in an ethical reflection of woman as subject in a dialogue that tests the boundaries between Self and Other.