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’.
WAVELENGTH (dir. Michael Snow, 45 min, 1967)
One of the most famous experimental films, if not the most celebrated. The camera slowly approaches a picture on the wall with several essential events punctuating the film, dividing it into distinct dramatic segments. A masterful utilization of the viewer’s attention and expectations.
WVLNT (Wavelength For Those Who Don’t Have the Time) (dir. Michael Snow, 15 min, 2003)
A thrice-compressed version of “Wavelength” created by Snow with the help of video technology. While both films share the original footage, “WVLNT” is a distinct and very different work, which nevertheless depends on its predecessor’s reputation and impact. A classic film retold as a video.