The 15th edition of the Rencontres Internationales Sciences & Cinémas (RISC) will take place from December 10 to 15, 2024 in Marseille (France), and surrounding cities.
The festival offers to discover a program of short, medium and feature films (documentary, fiction, experimental, video art, animation...) from an international selection, and whose theme and / or approach testify to a close proximity / affinity with fields of scientific research (including human and social sciences).
The Swedenborg Film Festival 2024 (SFF2024) invites entries of new films of 20 minutes or less from emerging and established independent filmmakers. Now a landmark event in the UK film calendar, the SFF has received a huge response from thousands of filmmakers around the world and has gained a reputation for the quality and diversity of its programming.
Found Footage Magazine is an independent semi-annual publication distributed worldwide, offering theoretical, analytical and informative contents related to found footage filmmaking.
The fourth annual Light Matter Festival will be held in person in Alfred, NY over the weekend of November 1-3. Opening Night will include an exhibition opening by Jodie Mack.
"a major East coast showcase of experimental film and video" -Michael Sicinski, In Review Online
Light Matter is an annual festival dedicated to the artists' moving image, seeking to bring together works of experimental film, video art, and the media arts. Conventional films need not apply. Preference will be given to shorts, but features will be considered.
El programa de este mes de la sección Confesionario. Mapa de voces experimentales, comisariada por el cineasta de vanguardia Pablo Marín, estrá dedicada al largometraje 'Falling Lessonss de Amy Halpern.
Cientos de rostros que desfilan en pantalla como una cascada componen un retrato colectivo que se transforma, progresivamente, en una plataforma de despegue desde la cual Halpern ensaya una película de denuncia de otro mundo, a la vez sutil y radical, lacerante y alegre.
At the end of his 2001 video Dream Story, the celebrated U.S. experimental filmmaker Saul Levine (New Haven, Connecticut, 1943- ) recalls seeming to wake up from a dream, only to find his close collaborator Marjorie Keller (who had died in 1994) next to him: “I said to her, ‘You can't be here,’ and she said to me, ‘But I am.’ And I felt suddenly, totally relieved, and at peace.” To find Levine presenting his work in Mexico City and Oaxaca is likewise at once metaphysically incongruent, perfectly fitting, and a much sought-after occasion for peace.
