OVERVIEW TITLES

AND [BACK

Peter Downsbrough
AND [BACK ‘plays’ a complex ‘game’ with the words AND and BACK, where the word BACK sometimes functions as indicator, sometimes as trigger, sometimes as a comment on what is happening on-screen...

GENT, 10 JUNI 1989, VOOR GERALDINE NEREA (PART OF PAS DE DANSE)

Jan Vromman
In this video Vromman shows us virtuoso how a “plan séquence” is capable of exploring a given spatial arrangement notably an abandoned church in Ghent. It is as though the camera possesses a will of its own, or, more appropriately, as it became itself a dancer within the given space...

THE STEWARTS HAVE A PARTY

Hans Op de Beeck
The Stewarts are a carefully cast fictitious family. The various members appear and disappear in an empty white room, like life-sized marionettes dressed in white. As is customary in the sub-genre of marionette theatre, they are manipulated by black-clothed puppeteers who are part of the set entourage: production assistants, a makeup girl and a hair stylist...

ARISE! WALK DOG EAT DONUT

Ken Kobland
"Very simply the piece is about going on... going on in the face of It. And about winding up where one began. We begin with a sort of reminiscence, projecting film footage from twenty years ago. We end by revisiting the landscape of that earlier footage, suggesting, I suppose, that over the years we often don’t come very far from where we begin...

MELT UMBRELLA

Messieurs Delmotte
In a rural landscape Delmotte sets fire to a black umbrella covered in oil. Then he leaves its metal carcass behind. This work is part of the series Brokendown Dream...

THE HUNDRED VIDEOS 08. WHY I STOPPED GOING TO FOREIGN FILMS

Steve Reinke
Cross-cut images of Tarkovsky’s Andrei Rublev, Buñuel’s Viridiana or Fellini’s Nights of Cabiria with scenes of homosexual sex....

FOR NOW

Herman Asselberghs
In times of great turmoil, time comes to a standstill. The central two movements in For Now are horizontal panoramas shots and firm, vertical edits. They show shifts of place without the journey. Nature, the wind, movement that occurs all on its own: this would seem to be the film’s real subject matter. The film unfolds in waves...

EPILOGUE

Michel Lorand
’Epilogue’ begins with the technical introduction, the classic ‘countdown’ seen at the start of movies. The title then appears, followed by a white film, devoid of image. It is a blank film, but not clean. A woman’s voice reads out a claustrophobic text about memory and remembering...

PRESSURE

Jan Dietvorst - Roy Villevoye
A portrait of Mumbai as a pressure cooker. The city could boil over at any moment. The attacks in November 2008 only serve to up the ante. Pressure feels as if the makers, and the viewers too, have suddenly landed in a pandemonium: Mumbai (Bombay). Life in this human ants’ nest occasionally turns out to be still rural and small-town...

J.P.

Steve Reinke
A remix of the 20 mn ‘Tuesday and I’ by young Canadian artist Jean-Paul Kelly. Reinke leaves the 20 mn one-take monologue intact, speeding up and slowing down the tape (mostly speeding up) to extract empathy for the subject and squeeze sounds out of his body....