ANALOGICA SELECTION 16 / PR 4
VEN / 13 / WAAG / h. 21.30
46min
How Am I Fermented
by Laurin Pircher
super8 / 2025 / Italy / 6’ 20’’
Bioregional memory unfolding in fermentation jars. Wild yeasts and molds growing, odor, texture and color changing, complex structures forming, microbes invisibly working. Like our identities, shaped beneath the surface, silently absorbing unspoken absolutes.
Three black and white films, each developed in separate batches of photochemistry made with sun-fermented plant infusions. In South Tyrol, an alpine region between borders, languages, and cultures have overlapped throughout history. Under fascist dictator Benito Mussolini’s forced italianization, culture and languages were suppressed and erased. The region’s multifaceted identity survives through decay and transformation.
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Laurin Pircher is a South-Tyrolean artist-filmmaker living and studying in the Netherlands. He works with hands-on film practices, foraged matter and alternative photographic processes, often engaging with local and personal histories through material storytelling.
Binary
by Padrick Ritch
16mm / 2026 / United States / 2’ 56’’
A collage film comprised of found 16mm footage and 35mm stills, mixed with Super 8 and 16mm shot by the filmmaker. As the most recent installment in the SMUD (Social Media Use Disorder) series, the film explores the audience’s relationship to opposing identity centric labels as a proxy to corporations and tech companies practice of curating our social media algorithms for engagement and advertisements.
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Padrick Ritch is an award-winning independent filmmaker. His films have been screened and been awarded at prestigious festivals around the world, such as the Ann Arbor Film Festival, Onion City Experimental Film Festival, Les Instants Video, and the Chicago Underground Film Festival. His portfolio spans various genres and formats, from experimental to documentary and fiction films with over a decade of public screenings in Los Angelos, New York City, London, Berlin, Paris, Buenos Aires, Toronto, and dozens of other cities across the globe. As a freelance cinematographer and editor, he has worked with Matthew Barney, Camille Henrot, Ivan Chang, The Aspen Art Museum, The Kresge Foundation, The Washington Post, Harvard University, Yale University, The Brattle Theatre, PBS Detroit, Rhode Island PBS, and WGBH Boston.
La dureté du mental
by Charles-André Coderre
found footage / 2025 / Canada / 20’
" It's a distraction for many, a profession for a few, when for me sport is my whole life. "
This work was commissioned by the Cinémathèque québécoise.
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Charles-André Coderre lives and works in Tiohtià:ke/Montreal. He makes films and works on 16mm live projections for several film and music performances. His films are distributed by Light Cone (Paris), CFMDC (Toronto) and Vidéographe (Montréal).
Uemdo
by Minhyeong Kil
8mm / 2025 / South Korea / 4’ 9’’
Uemdo is an island in Hwaseong-si, Gyeonggi-do, and the Uemdo Geological Site is the oldest rock formation in Hwaseong Geopark -South Korea- (about 1.87 billion years old).
The accumulated time of the rocks is presented in front of us as split and curved.
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Kil Min-hyeong (b. 1997) is a filmmaker based in South Korea.
He is interested in abstracting and personalizing natural elements within the frame, their movements, and light, focusing on perception and rhythm rather than representation.
Alpine Tundra
by Kathleen Rugh
16mm / 2025 / Usa / 5’ 35’’
The elevation at the peak of Mount Blue Sky is too harsh for trees, rather covered with tundra grass and rock.
In this harsh climate exists the highest paved road in North America, where people come by car to partake in
striking views and the extremes of nature
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Kathleen Rugh’s films have screened throughout the US and internationally, including the Edinburgh International Film Festival, Fracto Experimental Film Encounter, Antimatter, and Chicago Underground Film Festival.
Rugh is based in Brooklyn and has received funding through the New York State Council on the Arts.
North
by Hogan Seidel
found footage / 2026 / Usa / 3’ 2’’
I found a decaying print of Nanook of the North buried in the archive at Northwest Film Forum. Vinegar-soaked. Warped. Unstable. I let it keep rotting. Then I pushed it further: through photochemical abrasion, through touch, through light.
I approach the material not to represent it, but to hold it. To sit with its damage. To mark it with heat, with light, with gesture. I am not re-presenting the image. I am pressing against its surface, smearing its claim to objectivity. I see myself not as a filmmaker, but as an image handler.
What do we do with the myths we inherit?
We unmake them.
We hold them until they blur.
We watch them burn.
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Hogan Seidel is a Boston-based artist working in the traditions of experimental film and photography.
Their current artistic research, framed through poetic, political, and personal lenses, delves into contemporary queer discourse, queer history, and queer ecology. Hogan currently is an assistant teaching professor of photography at Simmons University.