Program 3

Friday 23rd November 2018, 18:00

Book your free ticket here.

Total runtime 68 min.

Liliana Piskorska, Marian Mayland, Stephanie Lagarde, Juliane Jaschnow and Stefanie Schroeder will be present for Q&A.

Public Displays of Affection

Liliana Piskorska

7 min / 2017 / Poland / UK premiere 

The project questions the concept of public space and its physical and symbolic demarcation lines. The police formation is moving quickly through a private apartment, its integrity depends on every single person being connected to another, being in constant contact and moving, turning and acting together. The border shifts; created for just a second, it quickly disappears just to be recreated in another context. The idea of both separation and contact is visualised through the same structure. Legal orders and laws seem to be just a passing phase, their lability is bared and it softly sings the melody of the forthcoming uproar.

A Bar on Majorca

Marian Mayland

15 min / 2017 / Germany / London premiere

Essen, Germany. Two obsolete apparitions: Super 8mm film stock, Kodachrome K40, exposed 30 years past its expiry date – and the far-right National Democratic Party of Germany (NPD). A short film on the human tendency to find patterns in noise. A film on conspiracy theory, on the state of the left, and on how ideology is transported through the selection of seemingly neutral facts. The title alludes to the NPDs former national chairman, who, since leaving the party in 2013, owns a bar in Palma.

Deployments

Stephanie Lagarde

16 min / 2018 / The Netherlands / UK premiere 

Déploiements shows how a state may perform systems of control.  Associating choreographed hand gestures of fighter pilots with a hydro-culture farm and images generated by a crowd-control training software, the film questions how states occupy terrain, both in air and on ground, both physically and symbolically.

The Effect of Cannonry on Storm Clouds

Juliane Jaschnow and Stefanie Schroeder

30 min / 2017 / Germany / UK premiere

2016 saw the highest number of potential tornados ever since the beginning of weather recordkeeping in Germany. At the same time, there is a deluge of weather tropes on the internet, on television and in the news. Shit storms, data flood, refugee waves. Language, metaphors and images are instruments of control. They are used to dispel - and instill - fear. How does the image function as a document, as fiction, trophy, counterattack? How close are manipulation and prediction? Is the weather still real? A film about storm images and the storm as an image.