In the Regained section, new light is cast on existing film material by means of restored classics, films about film, experimental works and installations. John Torres’ People Power Bombshell: Diary of Vietnam Rose will have its international première during IFFR. This reconstruction of an uncompleted film is experienced as a fevered trip that acts as a metaphor for the Philippine nation and its traumas. With Conner’s Crossroads and The Exploding Digital Inevitable, American film archivist Ross Lipman will present a live performance based around Bruce Conner’s notorious film Crossroads, which combines nuclear explosions with minimal music. To create the project Homeless Movies, which has its international première on the Schouwburgplein in special individual film cabins, six luminaries of the Belgian arts scene pored over amateur films.
Films in ‘Regained’
Conner's Crossroads and The Exploding Digital InevitableRoss Lipman, Bruce Conner IFFR 2017 86′
Crossroads (1976), the most controversial film by avant-garde icon Bruce Conner, consists solely of images of atomic tests, set to music by Terry Riley. Former film historian and restorer Ross Lipman takes a new look at the material, and the human urge towards self-destruction. He does this in the form of a 'live documentary'.
Tony Conrad: Completely in the PresentTyler Hubby IFFR 2017 96′
Jack-of-all-trades Tony Conrad had a bigger influence on post-war art than many people might think. From the godfather of The Velvet Underground and progenitor of minimal music to drone-filming hero, and from radical filmmaker to activist video-maker and conceptual performer: a portrait of an all-round, extremely loveable avant-gardist.
Pic-NicLisa Spilliaert IFFR 2017 4′
Spilliaert is fascinated by the seemingly spontaneous moments in double portraits that amateur filmmakers make of themselves.
She starts her visual essay by mirroring a Super-8 recording from an archive of amateur home movies with a video recording made by Spillaert's parents in 1990.
Answer PrintMónica Savirón IFFR 2017 5′
Images on celluloid eventually deteriorate. In fact, a loss of colour is already noticeable in this poetic collage of recycled, predominantly magenta fragments.