Light begins to illuminate the small, nipple-like end of a lemon on the right edge of the frame and gradually spreads until the entire lemon is clearly visible. Then the light recedes across the frame.
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Filmed during lockdown 2020, ‘de Luz/Of Light’ explores fleeting perceptions and cyclic rituals of Portuguese coastal landscapes, specifically surrounding the Cabo Sardão Lighthouse in Beja, and constructs a complex audio-visual narrative through collaging together various natural rhythms (such as the sun and motion of the sea). This film is intended for screening with a 16:27 aspect ratio. The soundtrack was composed by sound artist Michelle Lewis-King.
Light is a fascinating phenomenon. Without light, there would be no cinema, no film – and no life. So light is at the origin of everything, and yet it remains invisible to the eye until it hits matter. This moment is – quite literally – the starting point of Thomas Riedelsheimer’s latest work, for the springtime spectacle of rainbow shreds in the cinematographer and documentary filmmaker’s flat became the starting point of a search for the origin of the images we form of this world. For this quest he dived deep into two spheres that seem to follow different laws but always strive to fathom the magical: physics and art.
Fog has a curious effect on cinema. On the one hand, it precludes the production of those images that seem artificial, on account of their sharpness. On the other, the mist gives each frame a mysteriously narrative quality. The joy of watching the sea and the beach under a blanket of mist allows eluding the world of the quotidian, to suspect the beauty of the uncertain and unstable
A thinking about light and how it surrounds our lives.
Diam's, the beloved icon of French rap, gave up everything at the height of her success. The young woman experienced a real descent into hell: depression, loneliness, and disillusionment in the face of suffocating fame. On the brink of disaster, she found refuge in religion. Rare archives, memorable music videos, and previously unseen testimonials reveal the violence of her success and her vital need to disappear in order to rebuild herself, choosing the shadows after the light.
Two women in a living room: smoking, playing cards, listening to the radio. As often in Dwoskin’s films, the use of masks, make-up and costumes allows the characters to playfully transform themselves. Shot in colour film, C-film exuberates swinging London energy. In the second part of the film, the women appear to be watching the rushes of the film on an editing table. ”We are making a movie” we hear them say. As Dwoskin points out, “C-film asks how much is acting acted”, an ongoing question in Dwoskin’s cinema. Produced by Alan Power, with Esther Anderson & Sally Geeson.
The film discusses the evolution and potential of using light waves, particularly coherent light, for communication. It highlights the development of lasers at Bell Telephone Laboratories, explaining how they produce a highly controlled and intense beam of light that could revolutionize communication. The film emphasizes the vast possibilities of lasers, including applications in telecommunications, surgery, and exploring the universe, suggesting that this technology represents a significant step in humanity's understanding and use of light.
A small exploration in the cemetery from the township of Sainte-Colombe throught a focus into the light, graveyards, flaggings and funerary plaques.
From the light that falls on the backyard of his house on the day of the equinox without shadow in Quito, and inspired by the "Theory of colors" of Goethe, the director takes us to several cities in America to reflect on the influence that the light has in the understanding of our surroundings.
A condensation of a handful of sunsets with various visual moods. Red and blue as opposites that still find a way to cohere. Concrete silhouettes over an ever-changing, expanding canvas. Every movement is collective, molecular. Over an invisible horizon, a chance presents itself to meditate on the “speed” of water (and the sea) and also for a more fluid kind of editing.
A kinetic prayer and structuralist intervention. Shot entirely on an iPhone 11 in a desolate Midwest laundromat, 108 spin documents the mechanics of impermanence. The film shifts from heavy turbulence to suspended repetition—not as a path to completion, but as a study of the loop itself. Featuring a layered soundscape, the work asks the viewer to stare into the rotation until the noise becomes a mantra.
Ellie Epp’s 12-shot study of a soon-to-be-demolished public bath in London, which “maps another way out of structural film toward a cinema of delicate implication".
Filmed mostly on a Mini DV camera Gavin has thought of a quick way to become successful and be the master of the world but he has to wait for it all to fall into place… he has to wait for the postman to start production documenting the process of being master of the world.
An exciting video journey through the world of time-lapse photography by one of the founders of the science of photobiology, Dr. John Nash Ott. Do fluorescent lights cause cancer and childhood learning and behavior disorders? Can long-term exposure to low-level radiation as from TV sets, computers, fluorescent lights, and similar devices harm you? Does living behind window glass and with glasses covering our eyes over years affect our health? Is natural sunlight and trace ultra-violet radiation really harmful? Or is it necessary and beneficial? How do cells, plants, and animals respond to constant exposure to different light color frequencies? These and similar questions were the subjects of Dr. Ott's pioneering investigations in the field of photobiology, using the methods of time-lapse photography.
A computer generated fern follows a modular synthesizer soundtrack.
The passing time is displayed as a series of still frames, or a rapid sequence of moments, ever flowing like the waves that break on the shore, like a repeated chant with no beginning, middle or end.
A ritual of grids, reflections and chasms; a complete state of entropy; a space that devours itself; a vertigo that destroys the gravity of the Earth; a trap that captures us inside the voids of the screen of light: «That blank arena wherein converge at once the hundred spaces» (Hollis Frampton).
Two hands over a light.
Building as a magic lantern preserving small stories of human interactions throught clear permutations in the editing room, a work that want to understand the beauty of noises and the meaning of departure, going far away.
A study of observation, perceptions and sensations of nature and human interactions from the eye of a digital camera
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