freiburger film forum

Kurzfilmprogramm sff & fff

THE ROCK / SERIOUS APPARITIONS/KALTES TAL

Reihe: freiburger film forum

25 Min.
THE ROCK
Iran 2015/ 25 Min. / MPG4 / OV
Regie, Produktion: Hamid Jafari; Kamera: Arastoo Givi; Ton: Alireza Daryadel; Schnitt: Esmaeel Monsef
Swathed from head to toe in black, a woman is breaking stones out of a rock wall using a crowbar and her bare hands. For several minutes we watch her prying, pushing, bashing, awkwardly wrestling in her flapping robes, until the block she is after finally comes crashing down, right next to the lens of the low camera and her bare feet. (…) In a stone cave dwelling they built themselves, she tends to her elderly husband before returning the next day to the never-ending work. Her daily routine resembles the torment of Sisyphus – a dusty chore she is doomed to repeat forever. The stony, reddish moonlike landscape of southern Iran and the traditional way of life lend an almost biblical atmosphere to this serene, aesthetically filmed visual poem. (IDFA)

SERIOUS APPARITIONS
Germany 2017 / 22 min / DCP / no dialogue
Director, Script, Cinematography, Editor, Production, Sound: Viktor Brim
Machines move slowly across the landscape, smoke stacks gradually change their shape, trains roll smoothly through the image. Not much is happening in SERIOUS APPARITIONS and still something is taking place. The photographic images and their minimal alteration make the passing of time felt in a way that contrasts the industrial rhythm of the machines. At the same time the landscape is visible as technologically textured and spatially fragmented and is presented to the viewer as an aesthetic, sculptural object.

KALTES TAL
Germany 2016 / 12 min / DCP / no dialogue
Director, Script, Cinematography, Editing: Johannes Krell, Florian Fischer; Production: Stephan Helmut Beier, Ray Peter Maletzki, ROSENPICTURES Filmproduktion GbR; www.kaltes-tal-film.de
KALTES TAL experiments with different spaces and transitions in between them: between the white cube of the gallery and nature, between nature and its industrial appropriation. Aesthetic and documentary forms are merged to take the viewer into a real but mythic world of a limestone factory. The white limestone is processed and returned to the forest in order to protect it from acid rain and the movie deals with this circle of resource exploitation and the attempt of reinstating an ecological equilibrium. Explosions of rocks in slow motion, white chalk dust covering everything and the camera floating through the forest create a spherical world that blurs the dichotomy of nature and human action.