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ANALOGICA SELECTION 15 /// PR 5 /// 44' |
14 NOV h 22.00 > WAAG |
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MARKING THE ENDS
by Mireille Tawfik 16mm + HD / 2024 / Canada / 18’ 33’’ Three women discuss the difficulties faced when trying to get over their last break up. Between experimental and documentary cinema, Marking the ends translates the emotional and intimate experience of loss, casting doubt on the belief that all wounds heal over time |
Mireille Tawfik is making her debut as a director with the experimental short documentary, "Marking the Ends." A multidisciplinary artist, she works in the theater field as a writer, performer, and cultural mediator. She was recently seen on the stage of Duceppe Theatre in Nathalie Doummar's play "Mama." In 2019, she created "DM Me," an interactive media arts walking tour at the Boisé Library, with a group of teenagers from the St-Laurent neighborhood in Montreal.
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ENTER ASUNDER
by Francesco Coppola in collaboration with Salome Wu 35mm / 2025 / UK / 4’ 23’’ A balletic stop-motion performance reimagines the genesis story of humanity. Each frame of the film is printed on agar seaweed, a medium whose physical memory introduces material decay and echoes cinematic film grain. This degradation interacts with the film’s exploration of identity, performativity, and the set-of-behaviours behind the masculine~feminine archetypes. |
Francesco Coppola is a Motion Designer and Artist. His installations have shown at the ICA, Barbican, Roseberry Road Studios and the Old Truman Brewery. Ella Pileggi is a movement director, performer, and visual artist. Recently touring with Bodies in Action, and collaborating with choreographers Shelley Maxwell and Holly Blakey. Their collaboration inserts human movement into animated worlds of decay.
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PERPETUAL DISORDER
by João Carlos Pinto 16mm / 2024 / Portugal / 5’ 3’’ An immersive sensory journey through the bustling streets of Barcelona’s old town, where time, space, and human presence intertwine in unexpected ways. Shot on 16mm using in-camera multiple exposures, the film captures the tension between the sensory overload of the modern world and the slow, deliberate pace of analog filmic expression, inviting viewers into a fragmented yet hypnotic exploration of perception. |
João Carlos Pinto is a Portuguese photographer and filmmaker whose work explores themes of perception, reality, and existentialism.
His photography was featured in the 2023 Mostra Nacional Jovens Criadores exhibition, and his short film Ostra Negra has received accolades at various film festivals. He holds a bachelor’s degree in Sound and Image from ESAD.CR and a postgraduate degree in Photography and New AV Formats from ESCAC. |
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INDEX 2
by Zac Tomé 16mm / 2025 / Australia / 5’ Both symbols of modernity, cinema and trains are often likened to one another for their capacity to abstract space and time. 'Index 2' takes a trip from Amsterdam to The Hague by train, shot from the train, and then a return trip by foot and bicycle told through what is passed: overgrown weeds, the abandoned, and concrete structures. |
Through the use of phytograms (imprinting plant matter, picked up between the two locations, onto negatives), the film attempts to revisit early ideas around cinema as a means of preserving life whilst suggesting modernity’s relationship to environmental degradation. It focuses on what manages to endure these conditions and what may remain when we are eventually gone.
Zac Tomé is a filmmaker living in Naarm (Melbourne, Australia). His filmmaking is interested in the intersection between the histories of place and how that reveals itself in contemporary everyday-lived experience through experimental and narrative forms. |
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ENDINGS
by Philip Hoffman, Isiah Medina 16mm / 2023 / Canada / 9’ For creating a layered and complex work that brings to the screen the essential elements of natural life in parallel with the very essence of cinema: Image, Sound (and its absence) Editing. The apparent simplicity of the image is contrasted with an intricate, associative, rollercoaster-like editing punctuated by the presence and absence of sound. Some of the original 16mm footage is developed by hand using the photochemical properties of plants—oregano, walnuts, and other indigenous plants—that infuse the film with a tactile materiality that reverberates in the viewer and awakens memory at its most intimate level. |
This analog process is reworked through digital interventions by Isiah Medina, whose contribution expands the film’s organic origins, creating a necessary counterpoint. This alchemical operation unfolds so that the images we see on the screen – the endings of plants, the endings of flowers – are the elements that give life to the film itself, dragging the viewer into a hypnotic and visceral experience.
Director, filmmaker and editor Isiah Medina is a Canadian experimental filmmaker from Winnipeg, Manitoba. Philip Hoffman is a filmmaker and photographer who has gained recognition thanks to his film diaries. Both artists share interest in analogue film, the consequence of which may be seen in the film they collaborated on, Vulture (2019). |
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CELLULAR RECONSTRUCTION
by Derrick Schultz 16mm / 2022 / USA / 2’ Direct manipulation of a faded educational film using traditional and digital technologies. An exploration of themes on conservation, reinvention, and destruction, both in film and ecology.. |
Derrick Schultz is a post-AI artist and filmmaker from Brooklyn, NY, USA
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