Films in ‘exploding cinema’
Let me Count the WaysLeslie Thornton IFFR 2004
Another instalment in the never-ending saga of Peggy and Fred in Hell, a project that Thornton continues to elaborate upon since more than a decade. In this 'prequel', she gives away the most explicitly historical and, at the same time, the most personal contextualisation of the whole apocalyptic project: America's construction of the atom bomb.
The LightBrian Doyle IFFR 2004
From one lone street lamp to the brightest light ever made, The Light culminates as a metropolis beacon reaches skyward. Ultimately, the attempt to pierce the night, to know the unknown, ends in somber quiet. The progression begins in an ordinary provincial street at night and ends at the World Trade Center memorial lights, shown not in direct conjunction with the events that brought about their existence, but with a formal and abstracted transcendence.
Cultural QuarterMike Stubbs IFFR 2004
Cultural Quarter shows the relations between observation in the city and its inhabitants. In this way, Mike Stubbs tackles ethical questions surrounding surveillance, the look and human behaviour. The film reveals some of the gaps between the dreams of developers and the opinions of urban dwellers about what cultural space means and how it should be used.
Till Death Do Us JoinIFFR 2004
Men in uniform, naked men, men in tailored suits wearing bowler hats. The digital video collage Till Death Do Us Join is an Orwellian vision, acted out by militairy guards and masked preachers of good morals. The surreal chain of morbid rituals can be explained as a meditation on the institute of marriage. But it could just as well be one soldier's wet dream, while standing guard.