TOWARDS A NEW QUEER CINEMA – CLOSING ANTI-CEREMONY
U nedjelju 15.12 s početkom u 20:00 u projekcijskoj sali Kino kluba Split možete prisustvovati završnoj večeri dugog pilot izdanja festivala nove queer kinematografije (“Towards a new Queer Cinema Fest Split”). Na programu su dvije premijere i jedna arhivska premijera, a radi se o filmovima “Anti-Social Club” (Klub asocijalnih; 2018) redatelja Dannya Germansena, “Sakana” (Riblje meso; 2018) u režiji Takatosia Araia, te “Memory loss at 4:45 am on December 7” (Sjećanje izgubljeno 7. prosinca u 4:45”; 2008-2019) kojega je autor Taku Nakano s odgodom od preko deset godina nakon produkcije nedavno pustio u javni plasman.
Danny Germansen – Anti-Social Club (2018)
Danny Germansen (Born 1976) is a filmmaker and video-artist who was raised in a dysfunctional family in a little town on the west coast of Jutland in Denmark called Ribe. Playing music most of his teenager years, Danny first started to work with video and film at the age of 21. His main body of work are inspired by a life with disability, depression and mental breakdown.
(Contemporary Art Curator – http://www.contemporaryartcuratormagazine.com/home-2/danny-germansen)
Artist Statement by Danny Germansen:
The film is based on the life of and talks with SUZANA LUNGU . Its a futuristic tale ala GEORGE ORWELL´S 1984. The idea sprung out from Suzana telling me about her life in Romania. Where she would work in her garden in her bikini taking care of her tomato plants and other plants that she will go to the market to sell. I talked to Suzana about having that kind of freedom where you live in the nature and are your own boss. That you don´t have to be a part of the system or society, but be more or less self-sufficient by living of the land and live a life outside the norms of society without all the martialist things people of the world need today. Suzana made up the name ANTI-SOCIAL CLUB as a joke that she wanted to make a club for herself to be anti-social in. So one night I was laying in my bed after a couple hours of sleep, not fully awake, but half a sleep, I suddenly had a picture in my mind. It was very clearly. It pictured Suzana in her bikini – Sitting on her knees in a garden working in the soil and the title ANTI-SOCIAL CLUB was written on top of the picture. From there I developed the story about human freedom contra the state/system/society and it stood very clear to me after having seen that picture in my mind how exactly the film should be written and produced.
Cast & Crew:
SUZANA LUNGU as Herself
KENNETH MADSEN as The Radio Host
RIKKE SYLVESTERSEN as Girlfriend
MIKKEL W. KNUDSEN as Authority #1
KEVIN HANSEN LEVANDOWSKI as Authority #2
TABITA FYHN JACOBSEN as Prisoner
THORBJØRN OVERGAARD SCHUNCK as Judge
Special Guest Star:
SYLVIA TOY ST. LOUIS as Brainwash Machine
Director of Photography : STEFFEN GRAUMANN
Original Music Soundtrack by DARIA BAIOCCHI
Sound & Light : STEFFEN GRAUMANN
Color Grading & Sound Mastering : STEFFEN GRAUMANN
Written / Produced / Directed / Edited by DANNY GERMANSEN
24 min / English / Color + Black & White / 16:9 /
Taku Nakano – Memory loss at 445 am on December 7 (2008-2019)
24 min / Silent+Sound / Color + Black & White / 4:3 / 16mm Digital Remaster /
Takatoshi Arai – Sakana (2018)
On his right forearm, he has a Popeye tattoo that he got inked during his visit to the USA, and he wears a permanent bow tie on his chest, because of some film festivals dress codes, as he says jokingly. There’s an aura of sincerity and unpretentiousness surrounding him, and just a faint hint of eccentricity which marks his works. He names Robert Bresson, Sergei Parajanov, Pier Paolo Pasolini, Aki Kaurismaki and Tsai Ming-Liang as his role models, and claims that he usually eschews screenplay, and doesn’t employ metaphors in the creative process, yet his films, especially the latest and longest one, Sakana (Fish), appear as allegorical, not to mention insightful and multilayered. His name is Takatoshi Arai and he is a young and promising Japanese indie filmmaker whose approach to cinema could be described as intuitive and impromptu, and it’s pretty safe to label his methods as ‘experimental’. Five of his recent shorts – Thief, Color Sex Death, Quantity Amount Quality, Night Mother Scent, and the aforementioned Fish – were screened at the Labeerint bar in my hometown of Niš last night, with the humble, yet commendable event hosted by the Taka association and their cultural exchange representative, Ms Naoko Kamba. In the Skype Q&A, the audience had the opportunity to discuss with Mr Arai himself who was eager to show a traditional bamboo flute (Shakuhachi?) utilized as a prop in Color, Sex Death, as well as frula that he bought in Belgrade a few years ago when JSFF (Japanese Serbian Film Festival) took place. He also revealed his shooting equipment – iPhone, digital camera and ‘a cheap tripod’, in his own words – which should’ve come as no surprise to anyone familiar with the shoestring budget filmmaking of our time. Remaining secretive about the themes and meanings behind the oft-puzzling and dialogue-free juxtapositions of moving images and sounds, he asks the viewers to be active / open-minded and leaves plenty of space for their own different interpretations. The reality of his creations comes off as twisted, whether it’s fragmented into a series of rhythmically edited B&W photographs (Thief) or transformed into a full-blown (introspective?) nightmare (Night Mother Scent, the most surreal of the bunch and this writer’s personal favorite). In Quantity Amount Quality and Color Sex Death, Arai demonstrates childlike playfulness (or rather, impishness), applying stop-motion technique to apples and a pair of Converse shoes, respectively, whereas in Fish – his most accessible and well-rounded offering – he explores guilty conscience of his protagonist, if the google translation of the trailer description is any indication. (To my question about the possible ‘Lynchian’ connection between fish and ideas, he answers that he simply enjoys fishing.) Common to all of his films – reflections of his versatility – is a certain performative quality, the keen sense of visual composition, the collaboration with non-professional actors and the skill to make the most out of a tight budget. Arai currently strives to complete his first sci-fi feature, 2222, which will be followed by a horror and a comedy.
(Nikola Gocić – NGbooArt: http://ngbooart.blogspot.com/2019/07/in-nutshell-takatoshi-arai.html)
The man is fishing without bait. He stands beside the river and keeps fishing every day until the day his conviction of guilt, sorrow and torment will vanish.
33 min / Silent+Sound / Color + Black & White / 16:9 / Digital HD /
Organizator festivala “Towards a New Queer Cinema” u suradnji s LGBT Centrom Split i Kino klubom Split je udruga “QueerAnarchive” (Tonči Kranjčević Batalić).
Projekcije petkom u Kino klubu Split edukativnog su karaktera, namijenjene članovima i ostalim zainteresiranima, ulaz je besplatan, svi su dobrodošli…
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