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’.


Studie II (Hallucinationer)  (dir. Peter Weiss, 6 min, 1952)

Moving images of interacting human bodies and objects set in a spatially distorted environment. A sensual manipulation with visual discrepancies, which undermines the stability of the viewer’s position and gently guides into a world of surreal hallucinations.


Studie IV (Frigörelse)  (dir. Peter Weiss, 9min, 1954)

While making this film Weiss was undergoing intense psychoanalytical sessions. Not surprisingly, “Frigörelse” deals with problems of a very personal nature – namely, creative expression and elimination of the old “Self” as steps to inner freedom. To illustrate this process various visual metaphors are being used. Although still featuring unmistakably surreal imagery, this film lends itself better to interpretative success than the director’s earlier work.


Studie V (Växelspel) (dir. Peter Weiss, 9 min, 1955)

A woman and a man in a formal interplay enriched by the use of double exposures marking certain visual analogies and metaphors. An exciting viewing experience for those tired of the predictable nature of narrative filmmaking.

Ansikten I Skugga (dir. Peter Weiss, 13 min, 1956)

In this documentary the director’s attention is focused primarily on the faces of homeless people. It is an attempt to capture their various experiences and marks of time. Since the film has no main protagonist, the totality of the faces with all their differences is the driving force behind the subtle and unobtrusive narrative of this film.

Enligt Lag (dir. Peter Weiss & Hans Nordenström, 18 min, 1957)

A documentary filmed in a juvenile prison in Uppsala. The faces of prisoners are not shown, therefore their movements, gestures and verbal expressions are amplified through the stark contrast with the cold and menacing prison environment. Thus the hidden injects the impersonality of prisoners with timeless power and intensity.