The secret lives of invisible magnetic fields are revealed as chaotic ever-changing geometries. All action takes place around NASA’s Space Sciences Laboratories, UC Berkeley, to recordings of space scientists describing their discoveries. Are we observing a series of scientific experiments, the universe in flux, or a documentary of a fictional world?
When Boré migrates to Australia with his overbearing Polish mother, he thinks he is coming to paradise. Instead he finds a world of confusion. When a woman, Kym, exposes her left ear to him, Boré takes it as a secret sign. Armed with his camera, he takes a wrong turn into Kym’s world. His obsession drives him towards the line separating madness from normality. Once this line is crossed, anything is possible. Love becomes passion and passion absolves him of any crime.
In 1784, during a small boat trip, count Cagliostro announces to various members of the nobilty disastrous prophecies. The Loire banks haunted by a conversation by Alexandre Dumas.
A Chinese woman is writing postcards from Beijing to Europe. We don’t see the woman or the man, we only see the camera contemplating Beijing in a melancholy eye.
Parked somewhere between the poetic and the anthropological. The film displays considerable wit and a casual structure. We drop in on fragments of conversations and small dollops of ambiance, but this approach results in a film that leaves a warm overall impression. Silva’s film seems to imply that he’s an impure filmmaker, a bastard child who draws on available traditions but weaves them into unexpected realms of experience.
Experimental short film about change. Originally shot on 8mm film, containing no dialogue and based on a circular structure, the film attempts to describe a state of mind of a person in between events, experiencing change. The plot is rather a reference to the basic epic plot structure than a narrative. The music plays an important role approaching the content of the film hand in hand with the cinematography.
August, a Mediterranean beach. With this coordinates, Pic-Nic approaches a group of characters that, even if they are only passing by that same beach, seem to have been there all along, in their routines as towel’s neighbors or in the anonymity of the mass that slumber under the sunshades. Quiet and sharp, the camera succeeds in making of a set of scenes a clear reflection on contemporary man and on the paradox of what we call ‚ maybe naïvely ‚ spare time.
A visual meditation on the history of the American activism history as seen through cemeteries, historic plaques and markers. Inspired by Howard Zinn’s A People’s History of the United States the film is an ode to those who fought for their beliefs, to the powerful presence of place and protest in history and to the America’s enduring landscape. With no voiceover narration or dialogues, it is punctuated with wind blowing images exemplifying the forgotten voices of the nation’s earliest victims and those who have disappeared from the American cultural memory, and whose spirit and legacy it’s relevant to today.
Skyscraper floors stacked up in the background, rising up into the void. In front of this, roaring traffic not touching the ground. The vehicles are speeding through the air, the skyscrapers rest on nothing. The whole image is hanging in abeyance. A continuous backwards zoom expands the view on this setting, crosses the space between closeness and distance, fades from concrete to abstract, from tangible to unseizable. The music meanders around the image.
Portrait of a wedding day, detail.
A contemporary and poetic version of the story of the Verdronken Land van Saeftinghe (Drowned Land of Saeftinghe). In the sixteenth century, the village and polder of Saeftinghe, on the eastern edge of Zeeuws-Vlaanderen (part of the Dutch province of Zeeland), disappeared under water, and the sea has reigned supreme there ever since. The artist, who grew up in Zeeland, learned this fanciful story at his mother’s knee.
A soundman goes in search of that rarest of sounds ‚ silence.
A dozen sequence single shots set in different places ‚ a prairie by night, a roadside, a courtyard enclosed by buildings, a public restroom ‚ inhabited by human beings who look and act bizarre. Their ethnic origins are unimportant, the spaces they inhabit are universal, the film insists on individual perception of the images. Every visual and sound element is meticulously selected to create the multiple ambiances and to immerse the viewer in an intimate sensorial experience.
A building becomes so affected by the atmospheres left behind by people that it develops an allergic reaction.
Is Effie Wu a good fairy or an evil witch? Neither nor. She is the charming hostess who welcomes you into her home and before you can even bat an eye, she’s got you hypnotized and trapped with her **Super Smile**. You willingly float along as she moves from room to room performing her chores: there is no escape. A delightful proposition.
Looking at the ever changing forms ‚ mirrored images developing before one’s eyes like animated black-and-white Rorschach inkblot tests ‚ one might get taken away by the visions they induce or, inversely, get frustrated when not figuring out what exactly is represented here. The film returns to abstraction. The gaze that follows then looses the complex stapling then deconstructing figures; suspended for four minutes.
One night, in a forest. The usual activities of the beasts are disrupted: A group of humans sits in front of a big white surface that lightens in the dark.This project has been shown as an Art Statement project at Art Basel 38. A screening did indeed take place by night, in the woods. Foxes, hedgehogs, owls… The forest saw everything. The audience too, guided there by torchlight. Likewise, they saw each other: depicting the situation experienced from the viewpoint of the natural wild world, the film is an endless duplication, a mise en abyme.
Roads as far as the eye can see… Time away changes what you thought you knew.