Turbidus Film #24, Walden And Fylkingen presents Nicolas Rey’s Les Soviets plus l'électricité (2001) on 16mm. Les Soviets plus l'électricité is a cinematic and epic journey across Russia that ends deep in Siberia at the port town of Magadan, a city famous in Soviet times for being synonymous with deportation. Based on excerpts from his acoustic diary, documentary footage and some autobiographical insights given on the way, the roving reporter searches for imaginary roots and its historical and political implications.
FYLKINGEN presents TURBIDUS FILM #20: LUKE FOWLER (film/sound) and JOHN CHANTLER (sound) in person.
The British artist, filmmaker and musician Luke Fowler has over the past 15 years, developed a practice that is, at the same time, singular and collaborative, poetic and political, structural and documentary, archival and deeply human. With an emphasis on communities of people, outward thinkers and the history of the left, his 16mm films tell the stories of alternative movements in Britain, from psychiatry to photography to music to education.
Turbidus Film and Fylkingen present, as a part of Kortfilmsdagen, three films by Jerome Hiler. The films by Hiler 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. For example, In the Stone House literally compiles physically fragile and intensely poignant footage shot during the same period chronicled in Nathaniel Dorsky's Hours for Jerome (1967-1971).
Fylkingen and Turbidus Film present Landscapes and abandoned places, a second program with five experimental film makers that focused on landscapes, architecture, abandoned places, strata, glimpses of gardens, light patterns, and elements as earth, water, fire and wind...
Films by: Julie Murray (IRL), Giovanna Puggioni (IT), Adèle Friedman (US), and Arthur & Corinne Cantrill (AUS). All films on 16mm.
Fylkingen and Turbidus Film present a film programme focused on gardens, structural landscapes and field studies. In micro narrative of almost non-action, re-structuring cinematic forms, archetypal routines, off-screen presence, image in the images, this program provides the violence of the Atlantic Ocean hitting the coast, Brancusi's scuplture garden at Tirgu Jiu, the beach of Palud, the fields in Bourgogne and a garden in blossom from a dead mother's house.
Wolfgang Lehmann's Dragonflies with Birds and Snake is a powerfully vibrant film based on zoological and educational footage of insects, birds, and amphibians. The structural montage of the film, with small repititive variations and flicker effects, creating its own spatial and temporal essence.
”A menagerie of semiotic editing techniques employed during this exercise allows the marshy world of the dragonfly to unfold before us: dragonfly larvae hatch, whilst mere frames later, a bird slowly devours an adult specimen. We see bird and prey gradually merge forms, holding a constant value of image as all other areas of the frame flicker between positive and negative image, blue sky or green grass.”
Turbidus Film and Fylkingen present Nathaniel Dorsky
The films of Nathaniel Dorsky 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. Their luminous photography emphasizes the elemental frisson between solidity and luminosity, between spirit and matter, while his uniquely developed montage permits a fluid and flowing experience of time. Dorsky’s films reveal the mystery behind everyday existence, providing intimations of eternity.
Brakhage and Solomon are two American giants in the so-called poetic, lyrical and personal film. Stan Brakhage is one of the most influential filmmakers in American avant-garde cinema, noted for his unflinching social commentaries and technical innovations. Over his nearly 40-year career, he has made over 200 films of varying length. He made his first film, Interim (1952) at age 18 after dropping out of college. Brakhage films seek to change the way we see. They encourage viewers to eschew traditional narrative structure in favor of pure visual perception that is not reliant on naming what is seen; rather his goal is to create a more visceral visual experience, for he believes that a "stream-of visual-consciousness could be nothing less than the pathway of the soul." To this end, his films are shot in highly sensual colors and utilize minimal soundtracks. Phil Solomon is an internationally recognized filmmaker and has been teaching both film history/aesthetics and film production at CU since 1991. Professor Solomon's work has been screened in every major venue for experimental film throughout the U.S. and Europe, including 3 Cineprobes (one-man shows) at the Museum of Modern Art and two Whitney Biennials.