ANALOGICA SELECTION 14 /// PR 6
/// 50'
> 16 NOV h 18.30 WAAG
ULÍA
by Laura Moreno Bueno
16mm / 2024 / Spain / 13’ 20’’

A collage constructed from the frame that proposes to unite different places from the distortions of space, enclosing different landscapes in the same frame.
Creating non-existent but potentially real landscapes.
Laura Moreno Bueno is interested in the transfiguration of audiovisual codes using digital or analogue media.  She works with analog film and sound.
Les choses qui résistent à l'épreuve du temps by Elisa Baccolo
super8 / 2023 / Italy / 2’ 46’

One autumn evening E. gets lost in the streets of Paris.
Born in 1991, Elisa Baccolo studied Philosophy at the State University of Milan. In 2016 she undertook a PhD in Cognitive Neuroscience at the University of Milan-Bicocca, while pursuing a degree in Documentary Filmmaking at Scuola Civica di Cinema Luchino Visconti (2018).
From 2020 she joined several film residencies (South and Magic; Laguna Sud; Werner Herzog, Filming in a Strange Planet; Caucasus Cinema) and worked as a freelance filmmaker. After spending a few months in Paris as a Production Assistant, she holds the same position in Lugano, Switzerland.
The Geneva Mechanism: A Ghost Movie
by Péter Lichter
found fotage / 2024 / Hungary / 5’ 24’’

The long dead ghosts of celluloid are coming back to haunt the digital space.
Péter Lichter is a hungarian experimental filmmaker and writer. He studied film history and film theory at the ELTE University, Budapest. Péter makes found footage films and experimental features since 2002.  He is also one of the editors of the Prizma film-periodical, his first book on experimental cinema (A láthatatlan birodalom / The Invisible Impire) was published in 2016, since then he wrote nine books on film history. Peter frequently collaborates with composer Ádám Márton Horváth, sound designer Péter Benjámin Lukács, producer Dóra Nedeczky, poet Márió Z. Nemes, and artists, like Loránd Szécsény-Nagy and Bori Máté.
Diane (wrapped in plastic)
by Joanna Byrne, Mark Byrne
super8 / 2022 / UK / 3’ 30’’

A super 8 hauntology. Reimagining a series of one-way conversations with the permanently off-camera Diane, foraged in fragments from the screen of a cathode ray TV - onto an expired Ektachrome 160 super 8 sound cartridge (best before 1990). The film was home-processed, then wrapped in plastic and buried in the woods.

‘Diane…’ is a collaboration between the original source material, ourselves, the body of the film, and the earth it was buried in.
The soundtrack was recorded directly onto the magnetic strip of the film, firstly in camera, secondly using a super 8 motorised editor, adding to the fragmentation and abstraction of the soundtrack (No additional digital editing has taken place).
The film can be screened in its original form on a sound super 8mm projector, or as a digital video.

Joanna Byrne is a UK-based artist-filmmaker working with tactile, sustainable and collaborative approaches to film and moving image. She works with analogue film (super 8, 16mm) in a hands-on, tactile way: home-processing, editing by hand, and incorporating found footage, hand-manipulation and physical traces of her body into her work. Byrne is interested in the therapeutic and transformational potential of experimental film and expanded cinema practices.
Why i never became a driver
by Yuula Benivolski
16mm / 2023 / Canada/ 11’ 6’’

Three women engage with the medical system to confront strange dreams they cannot shake — — —
Early one morning, I regained consciousness in a hospital bed as the sun was coming up. I was sixteen. The first thing I noticed was the breaking news on television: princess Diana had died in a car accident.
Two hours earlier, I was hitchhiking home from a party with friends. We were picked up by a Toyota hatchback; the driver was drunk, but we were desperate.

At the bottom of a twisted mountain road we crashed into the gate of my town's cemetery.
As I watched updates on Diana from my hospital bed, images of her smashed up car crept into my mind and imprinted as my own.

Yuula Benivolski (b. 1980, Moscow) is an artist and filmmaker in Toronto. She uses auto-fiction and personal archives to explore the territory between memory and official history. Most recently, her work has been shown at e-flux Screening Room in NYC; Istanbul International Experimental Film Festival, Interbay Cinema Society in Seattle, WA; DIFFUSION 2023 in Toronto; Beijing International Short Film Festival, and Images Festival in Toronto.
In darkness there is light
by Daniel Maldonado / music by Mike Vernusky
Super8, 16 & 35mm / 2024 / US / 12’ 45’’

Drawing upon themes on the fragility of life with the ephemeralness of celluloid, "...in darkness there is light" is a handcrafted film told as a textured visual haiku centered on the iconic #7 subway train in New York City. It is a portrait on healing through time, bathed in shadow, light-scapes, silhouettes and locomotion.Recorded sound vibrations and pinhole cinematography capture a time & place forever etched in our history. A cinematic elegy on presence within absence dedicated to a Queens, NY community.
Featured in the New York Times, Daniel Maldonado is a multi award winning New York based filmmaker who’s experimental work has been showcased in group shows at such institutions as the Museum Of Modern Art, Rome’s Maxxi Museum and Miami’s Superblue Art Center.
Mike Vernusky creates electronic music & sound that disintegrates boundaries of technologies, space, and culture. Vernusky’s music has been described as
“brash” (New York Times), “isolationist” (The Wire), “especially otherworldly” (New Music USA), “strange & intriguing” (Exclaim), and “étonnante” (EtherReal France). As an emerging composer, he received the Grand Prize for Music in the Digital Art Awards from Keio University in Japan.
Más cables que personas
by Camila Dron
Cameraless, Cianotype / 2024 / Argentina / 1’ 30’’

MÁS CABLES QUE PERSONAS plunges into the interior of the human body, through the combination of various animation techniques and supports. Computer-generated images of the body are repeated over cyanotypes and disintegrate at the mercy of artificial intelligence under a motto: being deliberately unreal is a sign of honestly
Camila Dron (Argentina, 1999) is a graduate in Audiovisual Arts and programmer for the Festifreak festival. Currently, she explores alternative processes of photography and animation using cyanotype and artificial intelligence as her medium. Her most recent works, "La próxima te acompaño" and "Más cables que personas," which have toured various international festivals, aim to playfully expand the notion of the representations that technology provides us about the interior of our own bodies.