Mistral is the record of an off season journey in the south of France. Bare landscapes, burnt fields, empty villages, a still life with red wine in warm room. The grammar of Schreiner’s film parallels human physiology – the camera is as fast as the human eye in its ability to capture the moment and thus constitutes consciousness through flash thoughts.
Also in this combined programme
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L’étreinte
Light creates movement. Black and White functions in this film as some sort of developer. There is something going on here that lies between death,
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Heaven’s Gate
With Heaven’s Gate, Ahwesh employs a strategy similar to that used in 73 Suspect Words: against a blank screen, a metronomic procession of si
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Rosecolored Flower
A rose in a glass vase on the windowsill. Soft Vermeer-like light falling into the dusky room, and playing through the crystal-clear water. Most of
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Van de koele meren des doods
A lady in a Seventeenth Century dress stands on the edge of a lake and looks out over the water. When we approach her the lady lifts her dress up a
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Spaced Odditties
Pictures from a black and white documentary about the life in fresh water, recomposed on the celluloid ribbon by an image by image collage to form
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Pony Changes Everything
A man explains global currency markets without the help of his formerly trusty rockin’ talkin’ pony, who is missing. Without the pony,
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Bouquets 26-27
Bouquets 26 and 27 are part of a series of one minute films, structured visually in the camera during filming covering a variety of subjects. Bouqu
Film details
- Country of production
- Austria
- Year
- 1998
- Festival edition
- IFFR 2005
- Length
- 9"
- Medium/Format
- 16mm
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