JUST ANCIENT LOOPS -Bill Morrison


“Just Ancient Loops” combines the genius of three people and three mediums for a truly unique experience. Israeli-born American Maya Beiser, dubbed the “cello goddess” by The New Yorker, creates radical works for the cello, re-imagining her instrument’s boundaries. To celebrating the release of her latest album, Time Loops (a collaboration with composer Michael Harrison) Maya Beiser will perform “Just Ancient Loops,” the epic and meditative centerpiece of the album combined with a film created by Bill Morrison. Bill Morrison has built a filmography of more than thirty projects that have been presented in theaters, museums, galleries and concert halls worldwide. His work often makes use of rare archival footage in which forgotten film imagery is reframed as part of our collective mythology. Morrison’s films are in the collection of the Museum of Modern Art, The Nederlands Filmmuseum, and The Library of Congress. He is a Guggenheim fellow and has received the Alpert Award for the Arts, an NEA Creativity Grant, a Creative Capital grant, and a fellowship from the Foundation for Contemporary Arts. His work with Ridge Theater has been recognized with two Bessie awards and an Obie Award. Michael Harrison, who wrote the music performed by Maya Beiser, is a composer and pianist influenced by Western classical music as well as North Indian classical music.

http://capolavorimasterpieces.com/just-ancient-loops/

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Boom Festival 2012 Film – The Alchemy Of Spirit


Set during Boom Festival 2012 the documentary THE ALCHEMY OF SPIRIT tells the story of thousands of people from across the world, that come together every 2 years in the August full moon. Together they share the dream of a reality within and beyond this reality, where we can live in harmony with our planet and with each other.

TRAILER

1st part

2nd part

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NUCLEAR NATION a film by Atsushi Funahashi


A documentary about the exile of Futaba’s residents, the region housing the crippled Fukushima Daiichi nuclear power plant. Since the 1960s, Futaba had been promised prosperity with tax breaks and major subsidies to compensate for the presence of the power plant. The town’s people have now lost their homeland. Through their agonies and frustrations, the film questions the real cost of capitalism and nuclear energy.

The day after the magnitude 9.0 earthquake on March 11, 2011, Futaba locals heard the hydrogen explosion at Reactor Number 1 and were showered with nuclear fallout. In response, the Japanese government designated the whole town as an “exclusion zone” and 1,400 of the town’s residents fled to an abandoned high school 250 kilometers away. The entire community, including the Town Hall office, was moved into the four-story building, making the residents nuclear refugees.

The film portrays the evacuees as the nuclear disaster situation changes over time. One of them is Ichiro Nakai, a farmer who lost his wife, his home, and his rice fields in the massive tsunami. Doing his best to cope with the monotony of life at the evacuation center, he struggles to wipe away the haunting memories and start a new life with his son. The two finally get an official permit to enter the exclusion zone to visit their hometown. There, they see that their worst fears have become reality…

The other is Katsutaka Idogawa, Futaba’s mayor, a former active supporter of the government’s nuclear policy, who was lobbying to build two additional reactors. After realizing his constituents were exposed to significant amounts of radiation and that the situation at the TEPCO plant is still unstable, his beliefs begin to change.

official website http://nuclearnation.jp/en/

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Free Radicals – A History of Experimental Film (2010)


In this film essay, Chodorov examines the lives and work of such experimental luminaries as Hans Richter, Michael Snow, Peter Kubelka, Stan Brakhage and the godfather of the New American Cinema, Jonas Mekas.

Named after the Len Lye‘s landmark experimental film of dancing lines and marks scratched into the emulsion, “Free Radicals” gives an informative and accessible introduction into the world of avant-garde cinema. Unlike the MTV-ADD montage barrage that characterizes so many contemporary documentaries, the film does not hesitate to show extended clips of the actual films by the artists, immersing the viewer in their unique visual worlds and perspectives.

Filmmaker and film activist Pip Chodorov studied film semiotics at the University of Paris. In 1994, he founded the distribution company Re:Voir for the edition of historical and contemporary experimental films. In 2005, he also founded The Film Gallery — the only gallery devoted exclusively to experimental film artists. He is a co-founder of L’Abominable, a cooperative do-it-yourself film lab in Paris. His own films range from animation to film diary.

(Karen Pyudik – Hollywood Fine Arts Examiner)

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THE ACT OF KILLING


SYNOPSIS

THE ACT OF KILLING
A film by Joshua Oppenheimer


Anwar Congo and his friends have been dancing their way through musical numbers, twisting arms in film noir gangster scenes, and galloping across prairies as yodelling cowboys. Their foray into filmmaking is being celebrated in the media and debated on television, even though Anwar Congo and his friends are mass murderers.

Medan, Indonesia. When the government of Indonesia was overthrown by the military in 1965, Anwar and his friends were promoted from small-time gangsters who sold movie theatre tickets on the black market to death squad leaders. They helped the army kill more than one million alleged communists, ethnic Chinese, and intellectuals in less than a year. As the executioner for the most notorious death squad in his city, Anwar himself killed hundreds of people with his own hands.

Today, Anwar is revered as a founding father of a right-wing paramilitary organization that grew out of the death squads. The organization is so powerful that its leaders include government ministers, and they are happy to boast about everything from corruption and election rigging to acts of genocide.

The Act of Killing is about killers who have won, and the sort of society they have built. Unlike ageing Nazis or Rwandan génocidaires, Anwar and his friends have not been forced by history to admit they participated in crimes against humanity. Instead, they have written their own triumphant history, becoming role models for millions of young paramilitaries. The Act of Killing is a journey into the memories and imaginations of the perpetrators, offering insight into the minds of mass killers. And The Act of Killing is a nightmarish vision of a frighteningly banal culture of impunity in which killers can joke about crimes against humanity on television chat shows, and celebrate moral disaster with the ease and grace of a soft shoe dance number.

A Love of Cinema. In their youth, Anwar and his friends spent their lives at the movies, for they were “movie theatre gangsters”: they controlled a black market in tickets, while using the cinema as a base of operations for more serious crimes. In 1965, the army recruited them to form death squads because they had a proven capacity for violence, and they hated the communists for boycotting American films – the most popular (and profitable) in the cinemas. Anwar and his friends were devoted fans of James Dean, John Wayne, and Victor Mature. They explicitly fashioned themselves and their methods of murder after their Hollywood idols. And coming out of the midnight show, they felt “just like gangsters who stepped off the screen”. In this heady mood, they strolled across the boulevard to their office and killed their nightly quota of prisoners. Borrowing his technique from a mafia movie, Anwar preferred to strangle his victims with wire.

In The Act of Killing, Anwar and his friends agree to tell us the story of the killings. But their idea of being in a movie is not to provide testimony for a documentary: they want to star in the kind of films they most love from their days scalping tickets at the cinemas. We seize this opportunity to expose how a regime that was founded on crimes against humanity, yet has never been held accountable, would project itself into history.

And so we challenge Anwar and his friends to develop fiction scenes about their experience of the killings, adapted to their favorite film genres – gangster, western, musical. They write the scripts. They play themselves. And they play their victims.

Their fiction filmmaking process provides the film’s dramatic arc, and their film sets become safe spaces to challenge them about what they did. Some of Anwar’s friends realize that the killings were wrong. Others worry about the consequence of the story on their public image. Younger members of the paramilitary movement argue that they should boast about the horror of the massacres, because their terrifying and threatening force is the basis of their power today. As opinions diverge, the atmosphere on set grows tense. The edifice of genocide as a “patriotic struggle”, with Anwar and his friends as its heroes, begins to sway and crack.

Most dramatically, the filmmaking process catalyzes an unexpected emotional journey for Anwar, from arrogance to regret as he confronts, for the first time in his life, the full implications of what he’s done. As Anwar’s fragile conscience is threatened by the pressure to remain a hero, The Act of Killing presents a gripping conflict between moral imagination and moral catastrophe.

The web site:

http://theactofkilling.com/

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ITALIAN SPIDERMAN – Alrugo entertainment


 Italian Spiderman is a film parody of Italian action–adventure films of the 60s and 70s, first released on YouTube in 2007. The parody purports to be a “lost Italian film” by Alrugo Entertainment, an Australian film-making collective formed by Dario Russo, Tait Wilson, David Ashby, Will Spartalis and Boris Repasky.

Wikipedia.com

http://alrugo.blogspot.pt/

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NuFormer, 3D Mocap Mapping – NuFormer/Motek, Zierikzee, the Netherlands – March 2012 – Full Version (20 min)


NuFormer

Mocap mapping try-out

Zierikzee, the Netherlands – March 2012

NuFormer presents Mocap Mapping, a brand-new innovative combination of 3D video mapping projection and live motion capture. This mix allows for engaging interaction between the audience and a 3D character projected onto the building.

Credits
For this production NuFormer joined forces with Motek Entertainment. The technical production was a collaboration between NuFormer, Motek and Creative Technology Holland.

 

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