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.
Recent works are also posted to the mailing-list of the programmers of the Kino Climates
alternative cinema network.
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.
| Durbaar a film by Gautam Valluri | |
 | Lab(s) : L'ABOMINABLE Year of production : 2019 Format of production : 16 mm Format of diffusion : 16 mm Length : 8'47 Distrib. : Gautam Valluri Link : Click here Phone : +33769092107 Mail : gautamvalluri@gmail.com |
| A mood board for the Deccan Sultanate of South India. A tapestry of images takes us through lavish chandeliers from the court of the Last Nizam of Hyderabad to the illuminated memoir of Babur, the founder of the Mughal Dynasty. A series of disappearing sonic crescendos flood underneath, remembering the fall of a former grandeur. This film is an ode to intricacy and majesty, through reverie and voyeurism. (vimeo password = film2019) | |
| Added : 16/11/2019 | |
| ANCORA NO! a performance by 70FPS - Andrea Saggiomo | |
 | Lab(s) : _ AUTRE / OTHER Year of production : 2019 Format of production : Super 8 Format of diffusion : Super 8 Length : 30'0 Distrib. : self distributed Link : Click here Phone : 0039 3202523718 Mail : infopiccolaofficina@yahoo.it |
| this film is conceived to be played live with a modified super8 projector and some electroacoustic photosensitive handmade circuits. A super8 film on which I printed by hand (with the rayogram technique) insects and leaves together with other film clippings. The film does not present a linear continuity of frames; it's a collage of images and footprints. When projected (at variable speed) these images come to life, they enter in relation to each other, they produce noise: that inert strip of images becomes a movie in the eye of the one who looks at the screen when he looks. There is no movie before someone projects it and someone else looks at it and listens to it. | |
| Added : 28/10/2019 | |
| Les Chutes du Tripode a film by Gérémy Lelièvre | |
 | Lab(s) : MIRE Year of production : 2018 Format of production : 16 mm Format of diffusion : 16 mm Length : 2'24 Distrib. : Link : Click here Phone : Mail : geremy.lelievre@gmail.com |
| I accompanied the building destruction in the image with the game of deconstruction/construction of the film editing. Accelerating the rythmics, disrupting gradually the probable order of shot succession. I used for this movie, 6 found negative photographies of a building demolition wich took place in Nantes in 2005. With thoses photographies I experimented the flat bench printing, frame by frame. | |
| Added : 15/10/2019 | |
| her* hands and his shape a performance by Masha Godovannaya, Sílvia das Fadas | |
 | Lab(s) : FILMKOOP WIEN Year of production : 2019 Format of production : Super 8 Format of diffusion : Super 8 Length : 14'0 Distrib. : Link : Click here Phone : Mail : seligerus@yahoo.com |
| Cinema is an art of ghosts, it carries the potential to conjure and bring back the dead. In a dual screen phantasmagoria, «her* hands and his shape», we will conjure past and future ghosts of women who made films politically, or gave their presence to films politically. Their doubles will appear intertwined with landscapes and objects that once haunted us and will continue to do so every time they will be taken out of their suspended animation through the means of projection. We refuse to forget. We refuse to participate in the disenchantment of the world. Our hands scratched and shot new images while stealing images from others, in fresh and outdated film stocks. Our hands developed the images in the dark, negative and positive, shadows of shadows. Our eyes widened in view of the spectral images appearing in the surface of the film strips, and each time our disquiet hands will interfere and throw color and light to those images on screen. There’s no avoiding the ghosts in the machines; in moments of haunted liveness such as this all is doomed to disappear and return in other shapes. As soon as she crossed the bridge the phantoms came to meet her… | |
| Added : 05/09/2019 | |
| Passive/Aggresive a film by Masha Godovannaya | |
 | Lab(s) : FILMKOOP WIEN Year of production : 2018 Format of production : 16 mm Format of diffusion : Video Length : 3'9 Distrib. : Link : Click here Phone : Mail : |
| Experimental Cinema and its filmmakers have had a long history of creating visual portraits of their friends, collaborators, lovers, comrades-in-arms, families, etc. There have been always two active planes in these portraits: a camera with a filmmaker behind it and (a) person(s) in front of the camera. Between them – the space, where an intimate trustful interaction is evolving and taking an audio-visual shape. “Here and now” for the participants shooting the film, “there and then” for audiences watching it after. The moments of relatedness, captured and transmitted in time and space, become reminiscences of people’s lives and feelings towards each other, an affect recorded on celluloid. “Passive/Aggressive” is a rhizomatic audio-visual portrait of queer friends who are living a life challenging the heteronormative assumptions, in an attempt to reverse mechanisms of power relations and to negotiate the base of relatedness. Our extended union is reassembled in the fictionalised space of the film celebrating our wildness and queerness. the full KRUPA album is here: krupaband.bandcamp.com/album/roses-of-paradise | |
| Added : 05/09/2019 | |