2003 Festival – The 10th Annual Chicago Underground Film Festival

REALTIME Siegfried A. Fruhauf Experimental 4:30 35mm 2002 Austria “All that film is can be reduced to two elements: light and (proportionately structured) movement. And there are many possible answers to the question of what light and proportionate movement are. In REALTIME, Sigfried A. Fruhauf has decided on the most simple one, summing it up in the most symbolically unequivocal and, illuminating way: the sun.”  – Robert Buchschwenter

NOTES ON FILM 01 ELSE

Norbert Paffenbichler Experimental 35mm 6:00 2002 Austria “A report on cinemas narcotics: visualization and motion, material and montage, and the riddle posed by a face.”   Stefan Grisserman, Sixpack Films

VINCIT VERITAS

ReMI Experimental 10:00 35mm 2002 Austria Blue, green, red, crackling and popping, this is how VINCIT VERITAS commences. In uneven movement, blocks of color are driven vertically across the screen, evoking memories of technical problems experienced with the now almost historical apparatus used for film projection, of the series of frames which could get out of the proper rhythm thereby destroying the illusion. Stella Rollig, Sixpack Films

YOUR KISS

Euphrosyne P. Konti Experimental 3:00 16mm 2002 In this hand-processed film where synchronicity and dissonance collide, light and dark are violently manipulated in order to anchor the relationship between past and present, memories and expectations.

CONSTRUCT

Daniel Gahr Experimental 4:30 16mm 2002 “A visual interpretation of an urban environment. Shot entirely frame-by-frame, Construct attempts to deconstruct and reconstruct the architecture that has come to define modern metropolitan landscapes.”  – Daniel Gahr

TWO IF BY SEA

Brian Dean Richmond and George F. Davis Experimental 8:00 16mm 2001 Dissolving slide projectors and 16mm films were combined and rephotographed to create an animated boat drifting at sea. Sounds of creaking floors and cymbals being bowed were digitally enhanced to create a soundscape that gives a feeling of distance and uncertainty.

HALLOWEEN

Kersten Cmelka Experimental 16mm 3:00 2003 Austria “HALLOWEEN is a formal film named for the ship which appears in it. The frame is divided into three vertical sections that were exposed at different speeds; at the same time they seem to make up a more or less unified image. The ships movement causes the camera and as a result the picture to rock constantly.”   Gerald Weber, Sixpack Films

FEVER OF THE WESTERN NILE

deco dawson Experimental 8:00 16mm 2003 Canada Beautifully composed by the director of last years FILM(dzama) and this years Defile in Veil, this eerily impressionistic film follows a doomed heroine as she attempts to alleviate the feverish perils of the creatures cohabiting the forest with her.

TO THE HAPPY FEW

Thomas Draschan and Stella Friedrichs Experimental 5:00 16mm 2003 Austria/Germany The film is structured around the mystical idea of the mandala, in this case pictures of (fake) suns, galaxies and planets. These images are in sync with an Indian Bollywood song to enhance the pseudo-psychedelic effects. The film material covers a very wide range of found footage from various sources and decades starting in the 1930s (invisible woman) until the end of the 1980s.

CHARLEMAGNE 2: PILTZER

Pip Chodorov Experimental 22:00 16mm 2002 France The harmonics and discord of a black & white Charlemagne Palestine concert are translated into flickering color. The visual cortex and the temporal lobe are thus reunited in cognitive/neuronal orgasm! A study in visual music.