This section is dedicated to recent works that were made in the labs listed on filmlabs.org.
If you have used one of these labs to make a film, an installation, a performance, please
use the on-line form o add your work to this blog. The information will also be sent on the
agenda@filmlabs.org list, to which a number of programmers subscribe.
Programmers ! You can consult this page regularly to find out what's cooking in the labs,
or subscribe to agenda@filmlabs.org and get the information directly.
| autrement, la Molussie a film by Nicolas Rey | |
 | Lab(s) : L'ABOMINABLE Year of production : 2012 Format : Length : 81'0 Distrib. : Link : Click here Phone : Mail : nicorey@club-internet.fr |
| A film in nine chapters, shown in random order and based on fragments from the novel Günther "Differently" wrote between 1932 and 1936 : "The Molussian Catacomb". Prisoners sitting in the pits of an imaginary fascist state, Molussia,transmit one another stories about the outside world, as so many philosophical fables. | |
| Added : 12/02/2012 | |
| K 1 à 8 a film by Frédérique Devaux | |
 | Lab(s) : L'ABOMINABLE Year of production : 2010 Format : Length : 45'0 Distrib. : Light Cone Link : Click here Phone : Mail : 0623486369 |
| Films made in Kabylia (Algeria) from 2001 to 2008 | |
| Added : 16/12/2011 | |
| Istanbul a film by | |
 | Lab(s) : L'ABOMINABLE Year of production : 2011 Format : Length : 100'0 Distrib. : lightcone Link : Click here Phone : 0467481350 Mail : rousset.martine@voila.fr |
| Chaos vivant où sont venus se perdre les chemins et les temps , ville fracas , ville jardin , palais et misère , mosquées et bateaux , turque , kurde , juive , russe , arménienne , illusion vive. Ecouter les temps mêlés , tant il semble qu’ici les temps se rejoignent , Ils tracent d’inextricables labyrinthes , offerts , ouverts au plein ciel , les flèches des minarets tendent la trajectoire . Ecouter , l’intemporalité du passage , au creux de la ville , l’immatérielle rêverie du Bosphore , le continuum infini étire la ville le long de ses rives , horizontales et verticales la déploient , une toile , une voile , une page , ville bateau , ville mémoire , La ville navigue et la ville écrit . Voir errances et échappées , par les jardins hasardeux , la trame indéchiffrable des ruelles en spirales , les enclaves d’abandon par ses bateaux toujours lointains , par ce courant d’oubli qui traverse la ville , l’entraine en une navigation invisible , l’écume des temps , échouée là , alluvion , au bord du passage, l’éphémère au bord de l’inlassable | |
| Added : 29/11/2011 | |
| LES CHAMPS BRULANTS a film by Catherine Libert / Stefano Canapa | |
 | Lab(s) : L'ABOMINABLE Year of production : 2010 Format : Length : 72'0 Distrib. : Link : Phone : Mail : |
| Al di là della grande Storia del cinema italiano e della sua morte annunciata, c'è un'altra storia, quella di un cinema invisibile e resistente che nessuna tempesta potrà annientare, perché tornerà sempre, libero e spontaneo, come le erbe selvatiche sui margini dei senteiri. 'CAMPI ARDENTI' è il quarto episodio di 'VIE TRAVERSE', road movie cinematografico che percorre l'Italia dal nord al sud alla ricerca di un cinema independente, estremamente vivo, anche se considerato morto. Dalle rovine del Circo Massimo a Roma, passando per le periferie dimenticate, fino alle macerie di Pozzuoli, il film cerca di incontrare un cinema di sopravvivenza, quello di Beppe Gaudino e Isabella Sandri. | |
| Added : 29/11/2011 | |
| Ajar a film by Rodolphe Cobetto-Caravanes | |
 | Lab(s) : L'ABOMINABLE Year of production : 2009 Format : Length : 3'0 Distrib. : Light Cone Link : Click here Phone : Mail : |
| « C’est la mort que je cherche quand je pénètre ta fente ». Jean-Marie Galey répète ces mots de sa voix grave, les scande. Pivot du discours en voix-off traversant Ajar, la phrase apparaît à différents moments et révèle deux éléments clés : la mort et le sexe, dans ce qu’il a de plus cru, de plus sensible. » Cécile Giraud in BREF #69, 2005. | |
| Added : 28/11/2011 | |
| Le bord intime des foules a film by Rodolphe Cobetto-Caravanes | |
| Lab(s) : L'ABOMINABLE Year of production : 2009 Format : Length : 3'0 Distrib. : Light Cone Link : Click here Phone : Mail : |
| This is a movie about loneliness, about what happens when you’re back home and nobody is waiting for you. It remains the time of a song, a sad song. From an Rodolphe Cobetto-caravanes’ interview by Cécile Giraud on the web site objectif cinéma. | |
| Added : 28/11/2011 | |
| Le Point Aveugle a performance by Burstscratch | |
 | Lab(s) : BURSTSCRATCH Year of production : 2009 Format : Length : 50'0 Distrib. : Burstscratch Link : Click here Phone : Mail : ecrire@burstscratch.org |
| With Le Point Aveugle, we propose a session of live cinema, visual and sound performance using several projectors 16mm, turntables and some wires. The pictures and sounds are manipulated and modified by various means: variations of focal and volume, superpositions, repetitions of sequences, partial maskings, transparent objects using for pictures and analogic filters for sounds... Conceived as a dialogue between several film-makers and musicians, this performance considers the film image and the sound as material and light, as a spouting out visual and sonorous stream of the darkness and silence, destroyed and reconstructed permanently. By abandoning the story to redefine us on the nature of the film medium, we try to create something of the order of a contemplative journey, leaving to every spectator the care of leading its own investigation... This project is presented like a workshop of research in permanent evolut ion fed by the various sensibilities of each personality who meet this adventure since 2002. Production : Collectif burstscratch. Coproduction : La Filature, Scène nationale – Mulhouse. With the support of DRAC Alsace. | |
| Added : 28/11/2011 | |
| filmatruc à verres n°1, Pierre an installation by Silvi Simon | |
 | Lab(s) : BURSTSCRATCH Year of production : 2009 Format : Distrib. : silvi simon/film gallery Link : Click here Phone : 0620332199 Mail : filmatruc@gmail.com |
| Filmatruc à Verres n°1, Pierre Suspension de 150 verres environ sur une structure en métal, projection 16mm, ventilateur, film 16mm noir et blanc de20 mètres. Ce dispositif permet de projeter une image multipliée sur 360°. Les images 16mm sont tirées d’un vieux film des années 30 que j’ai récupéré en très mauvais état où des personnages lancent une pierre. Le spectateur se retrouve entouré de ces images dans un univers sonore de cliquetis de verres | |
| Added : 28/11/2011 | |
| filmatruc à verres n°2, Oiseaux an installation by Silvi Simon | |
 | Lab(s) : BURSTSCRATCH Year of production : 2010 Format : Distrib. : silvi simon/film gallery Link : Click here Phone : 0620332199 Mail : filmatruc@gmail.com |
| Filmatruc à verres n°2, oiseaux Boule en métal dans laquelle est suspendu une centaine de verres dans tous les sens, moteur, projection d’une boucle 16mm. Ici les verres sont placés de sorte à ce que les images se réfléchissent par petite fraction du mur au plafond. La boule fixée sur un moteur tourne. Projection d'un vol d’un groupe d’oiseau. | |
| Added : 28/11/2011 | |
| lux machina: un cabinet de curiosités an installation by Chris Auger, Joël Massey, Laure Sainte-Rose | |
| Lab(s) : AD LIBITUM Year of production : 2009 Format : Distrib. : Atelier cinématographique Ad libitum Link : Click here Phone : 04 76 07 07 78 Mail : libitum@wanadoo.fr |
| A travers quelques archétypes du cinéma d'amateur, détectés dans le corpus des films collectés, Ad libitum propose un hommage à ces documents cinématographiques inconnus. Il s'agit de faire basculer le contenu sémantique des images du film de famille vers un imaginaire contemporain qui interroge le regard sur cette manière de filmer et d'être filmé. Des sculptures/machines à projeter, à montrer et à amplifier, inventées et réalisées par trois acteurs d'Ad libitum (Christophe Auger, Joël Massey, Laure Sainte-Rose), sont installées dans un espace d'exposition plongé dans le noir. Images argentiques, électriques et vidéographiques /une plongée vertigineuse dans l'univers transfiguré du film amateur. Les dispositifs mis en oeuvre, sont conçus pour générer à partir de la "matière image" brute, des transformations, des distorsions, des confrontations inédites: effets d'anamorphoses optique s et électriques, composition sonore utilisant des ambiances familiales et des "bruits machine". Une mise en scène où se côtoient, dans un même espace d'expérimentation, art plastique et patrimoine cinématographique. Un univers allant de l'abstraction à l'onirisme, un voyage dans le temps des images: de la mémoire activée à l'ici et maintenant. | |
| Added : 25/11/2011 | |
| Memory Fade a film by Carl E. Brown | |
| Lab(s) : NIAGARA CUSTOM LAB Year of production : 2009 Format : Length : 35'21 Distrib. : Light Cone Link : Click here Phone : Mail : finepain@airnet.ca |
| When began to create Heaven and Earth was then without form. And void. And darkness was over the deep, and breathe hovering over the waters. And said “Let there be light.” And there was light. And saw the light, that it was good, and divided the light from the darkness It's burst into flames! It burst into flames, and it's falling, it's crashing! Watch it! Watch it! Get out of the way! Get out of the way! Get this, Charlie; get this, Charlie! It's fire—and it's crashing! It's crashing terrible! Oh, my! Get out of the way, please! It's burning and bursting into flames this is terrible; this is the one of the worst catastrophes in the world. [indecipherable] its flames... Crashing, oh! Four- or five-hundred feet into the sky and it—it's a terrific crash, ladies and gentlemen. It's smoke, and it's in flames now; and the frame is crashing to the ground, not quite to the mooring-mast. Oh, the humanity! ah! I—I can't talk, ladies and gentlemen. Honest: it's just laying there, mass of smoking wreckage. Ah! the screaming. Lady, I—I—I'm sorry. Honest: I—I can hardly breathe. I—I'm going to step inside, where I cannot see it. Charlie, that's terrible. Ah, ah;—I can't. Listen, folks; I—I'm gonna have to stop for a minute because [indecipherable] I've lost my voice. This is the worst thing I've ever witnessed … Herb Morrison 1937 The images are not lost…they are spectral and the dance steps repeated over and over in time fights the Fade – a falling down that breaks the spine of the book of life (mankind). Nightime stay “Yes”…are there really “better angels of our nature” nasal and distant the sound of the migratory mind search – I need to relearn the route – the electricity has been losing juice – still a third rail running through my brain causing the 400 agitations of Julie…a real separation of colours…time gets rooted and stalls a little bit of gr ey matter dies – part of the Fade – the over medicated culture of society – the pharma fog contributes to our cyclic emptying of tragic past events and there it goes again before we know it we are in another former deja vu again man versus man versus nature the essence of the organics…the transformative alchemy…I need a tool to dislodge clogged synapses and arteries…perhaps a snake…ecstatics make the engine run dilation of the flesh…maybe it’s true through the emptying of self loss of memory the fade of pain mankinds reason It’s not that I don’t like people, I just feel better when they are not around…bare witness to middle age human kindness through destruction | |
| Added : 25/11/2011 | |
| Ami, entends-tu a film by Nathalie Nambot | |
 | Lab(s) : L'ABOMINABLE Year of production : 2010 Format : Length : 55'0 Distrib. : Chaya films Link : Phone : 06 20 27 15 85 Mail : nathalie.nambot@laposte.net |
| by JP Rhem and Nicolas Feodoroff (FID) The eminent Russian writer Ossip Mandestam, who died when deported to Siberia in 1938, wrote in 1922: “My century, my beast, who will dare looking deep into your pupils?” Nathalie Nambot used this question as a starting point. You don’t notice it at once, but it gets confirmed gradually, as slowly as a survivor’s breath: her film is a long dedication to rebellious lucidity. Yesterday’s lucidity (yesterday?), from the Stalin era to today’s Russia (today?). Her project is all about recording immobilism and countering it with the rhythm of uprisings, thus mixing temporalities: the merciless continuity of horror with the sharpness of verses and screams. Obviously, it is ambitious. But also modest, because in order to stir up the past without succumbing to emotionalism, you need some incarnated complicities. Mandelstam. His wife Nadejda, who rescued his texts from oblivion by learning them by heart. A friend, Anna Akhmatova. They are all witnesses, in the present tense: they are living testimonies waiting to be heard, repeated and interpreted, as they wander through the city and landscape. They all say that what we get to see isn’t the exclusive property of winners. They are also very much in the now: they bring up the carnage at the Dubrovka theatre in October 2002, and the public words of Stanislav Markelov, a lawyer murdered in the street in January 2009. “Written kisses never reach their destination / ghosts drink them on the way,” is the quotation that comes as an epigraph. The film is convinced of their possible exorcism. | |
| Added : 23/11/2011 | |
| PARTIES VISIBLE ET INVISIBLE D'UN ENSEMBLE SOUS TENSION a film by Emmanuel Lefrant | |
 | Lab(s) : L'ABOMINABLE Year of production : 2009 Format : Length : 7'0 Distrib. : Light Cone Link : Click here Phone : Mail : lefrantemmanuel@yahoo.fr |
| Africa, 2003: the mechanisms of memory. I shot the image of a landscape and buried simultaneously a film strip in the same place where the sequence was shot: the emulsion, the victim of erosion is thus subjected to biochemical degradation. The result of these natural processes of decay are then conserved in the state of their dissolution. Those two images, and their negative versions, are then entangled together thanks to double exposure and bi-packing techniques. These landscapes in fusion, it's the logic of a world that reveals itself. A bipolar world, where invisible takes shape with the visible, where the first dissolves itself into the second and vice versa. | |
| Added : 21/11/2011 | |
| Mercedes Dunavska ou L'imposible trajectoire A1 a film by Drazen Zanchi | |
| Lab(s) : L'ABOMINABLE Year of production : 2008 Format : Length : 30'0 Distrib. : Light Cone Link : Click here Phone : 06 78 95 47 25 Mail : drazen.zanchi@gmail.com |
| A Balkan road movie made by a Croatian from Split. No fanfare, no trumpets, no Gypsies, no moustaches & no nudity ... the A1 highway is brand new: Split-Zagreb, an almost-new car, the sea alongside the Island of Vis and the magnetic Danube: a sound-track composed of murmurs from the time of war. | |
| Added : 21/11/2011 | |
| La caresse an installation by Audrey Armand | |
 | Lab(s) : L'ABOMINABLE Year of production : 2009 Format : Length : 4'35 Distrib. : Link : Click here Phone : Mail : audreyarmand@hotmail.fr |
| Sur un lit d’hortensias au milieu d’un sol de feuilles mortes, le visage d’une femme apparaît. Les couleurs rappellent les temps anciens. Les deux films tournent en boucle. La voix d’une vieille femme raconte un rêve, celle d’une caresse. Issue d’un souvenir, « la caresse » est une installation composée de deux projections simultanées en 16mm accompagnées d’une pièce sonore. De durées différentes, l’image et le son ont des points de synchronisation aléatoires. | |
| Added : 21/11/2011 | |
| El cuento a film by Enrico Mandirola | |
 | Lab(s) : KINOLAB Year of production : 2011 Format : Length : 30'0 Distrib. : LightCone and CFMDC Link : Click here Phone : 0057-3158941717 Mail : e.mandirola@gmail.com |
| It is through songs that people leave the sky of their childhood to enter into active life in the reign of civilization. It is through songs that they return to primitive life. NOBODY DID ANYTHING A cinema-poem that was born out of road signs found scattered on the road. The theme is a war, an opaque and archaic war that is never named. The text is a chant about the behavior of a "timeless-man" during a war. The film's structure is drawn around the road signs found as fragments of a trip, as images stolen from our daily living. The "writing on screen" is the object of the research. The images were filmed during more than one decade of peregrinations throughout the roads of this planet, accompanied by a Super-8 camera. The images are never a direct comment about the text; rather they will try to become moving in which we can place ourselves to listen to the voice of the chant. A damage LP vinyl that repeats itself? The time and the rhythm are those of the repetition transported by the wind, as the text tells in its conclusion: Now that you know this, try to protect yourself and save your head. If you cannot do it, at least, you will not be bored. | |
| Added : 21/11/2011 | |