The experimental film programme showcases four filmmakers who, among other things, share a serous background in painting. While their works are all very different, they also have a few things in common: visual thinking, a personal approach and contempt for the conventions of the narrative-based cinema. This year’s programme features the visually and rhythmically sophisticated works by Gunvor Nelson; the surreally personal films by the renowned playwright and writer Peter Weiss; the emotionally suggestive and cinematically unique Jack Chambers’ ‘The Hart of London’, as well as a classic of cinematic structuralism, Michael Snow’s ‘Wavelength’.

 

SCHMEERGUNTZ (dir. Gunvor Nelson, 14 min, 1965)

An ironic, original and eclectic view on the role of woman in the consumerist society. By juxtaposing the media-constructed reality with piercing naturalism, Gunvor Nelson engages the viewer into a trip through a labyrinth of different visual textures.

MY NAME IS OONA (dir. Gunvor Nelson, 9 min, 1969)

A poetic and visually rich portrayal of the director’s daughter, featuring a soundtrack reminiscent of the early sampling experiments by Steve Reich. The interaction between picture and sound helps create a hypnotic effect capturing fleeting childhood sensations and transporting into a surreal world of fairytales.

MOON’S POOL (dir. Gunvor Nelson, 15 min, 1973)

Unity of water and human bodies in a film that fascinates with its subtle rhythm and attention to detail. The seamless editing of this piece resembles the flow of water in a river.

RED SHIFT (dir. Gunvor Nelson, 49 min, 1984)

A visually elegant work with details and composition constantly drawing attention to what has been left off-screen. The hidden and the unsaid underscore the flow of time, whereas its visible imprints are transformed into poetic generalizations that stay with the viewer long after the film is over.