![]() Praca Walk Disney (Walt Disney Square) by Renata Pinheiro & Sergio Oliveira of Brazil playfully combined performative elements with observations of daily street life to create a "quasi-musical" on the streets of Recife, Also of note was the meditative Square Dance Hypnotist by Allan Brown, a work in which a progressive loop of square dance imagery somehow matches in mood and tone with a chilling 911 call. Life’s Full of Wonders - This program brought together works that hung on hypnotic soundtracks. Shown together, the films provided a dual portrait of government power that is at once oppressive and yet ineffectual. So Sorry observed Ai Wei Wei calling the Chinese government to account after the Sichuan earthquake, actions that lead to his police beating and eventual arrest. Ordos 100 elicited laughs as it charted the logistical and cultural stumbling blocks that derailed the international Ordos architectural showcase. Though very different in tone, these two world premiere documentaries by Chinese artist/activist Ai Wei Wei, were paired together as a double feature. Later in the afternoon, I ventured away from the LantarenVenster island to enjoy the features films So Sorry & Ordos 100. Bush’s piece, which uses contemporary architecture imagery to suggest an urban sci-fi landscape, was well matched the 1993 postmodern design of the museum itself. The special exhibition of the work in the architecture museum’s theater was a perfect meeting of venue with an artwork. On Friday morning I visited the Netherlands Architecture Institute to see Paul Bush’s new feature work Babledom. Like his other student collaborations, Empire of Evil, can be hard to watch…but I was reminded that there is real pleasure in seeing a work that looks like it was truly fun to make for everyone involved. These two last works by the artist were shown together as a late-night homage. IFFR planned a special memorial screening dedicated to our friend George. George Kuchar: Wrap Party – I knew that HotSpelland Empire of Evil would be featured in the festival but I was surprised and thrilled by the way IFFR presented the work. These works were nicely paired with new titles by Ken Jacobs and a very creepy animation by Stacy Seers. Kevin Jerome Everson’s newest film Rodeo Trilogy was included here along with Deborah Stratman’s Village, silenced. Waving Back: This program of experimental shorts built upon an indistinct sense of dread or unease in all of the featured works. While the location is a bit far from the De Dolen fest center, the theater is beautiful, shuttles were frequent, and the location (on an island in the Maas River) gives the vast festival a more intimate feel. ![]() For the second year in a row IFFR has consolidated its shorts and arts focused features at this cinema venue. The new system went fairly smoothly and was very convenient (though you did have to remember what you signed up for!) I enjoyed a walk past Paul McCarthy’s (ahem.) public sculpture Santa Claus (2001) and the famous De Stijl style Café De Unie (1925) as I headed to the LanternVenster. We registered our ticket requests with the box office representative - then at the door of the screening ushers scanned our ID badges. ![]() Madeleine had a busy schedule of presentations and program introductions during the run of the festival so she gave me a great introductory rundown of films and people to look for! Sharing our transfer was Spanish / Venezuelan filmmaker Andres Duque whose new feature Dress Rehearsal for Utopia premiered in the Bright Futures section of the fest later that day.Īfter checking in at the riverfront Tulip Inn, I registered for the fest at the impressive De Dolen (a concert hall that serves as the IFFR headquarters.) For the first time this year IFFR ran a paperless ticket system for artists and accredited guests. Madeleine serves as the producer for work by Kevin Jerome Everson and is on the festival team at Rotterdam. Lindsay Bosch, VDB Distribution Manager reports on some of this year's goings-on.Īrriving in at the airport Thursday morning I had the pleasure of sharing the transfer to Rotterdam with VDB friend Madeleine Molyneaux. Video Data Bank was thrilled to again take part in the Rotterdam International Film Festival in late January. ![]()
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