18e Festival international Signes de Nuit - Paris - October 1-5 / 22-25, 2020
9 |
|
SNYTHOX
Sound / Image Interferences |
 |
ONLINE EDITION
See: Timetable
|
The Underworld
Il mondo di sotto
|
|
Benedetta Sani |
Italy / 2020 / 0:04:09 |
The divine maiden knows the inebriating flower. She discovers that the narcissus radiant beauty is due to the existence of the underground, a world below where the ground was fertilized by a buried seed. Nothing could be born without death, nothing could shine without that unknown darkness.
|
|
|
|
|
Chan Sze-Wei, Sylvia Lim |
Singapore / 2018 / 0:12:34 |
In the slowly warming ocean, a pulsation of skin and bone.
|
|
|
|
|
Monica Ruiz van Hattem |
Netherlands / 2019 / 0:17:53 |
While trains and travelers come and go in Central Station of Rotterdam which is as massive as it is impressive, two men find each other in music and dance. This poetic and musical film explores functional architecture and the body. With prodigy flamenco dancer Eduardo Guerrero and magisterial singer and saxophonist Antonio Lizana.
|
|
|
|
|
Michael Salkeld |
United Kingdom / 2020 / 0:05:10 |
"Interference" Is an experimental short film shot on the north east coast line of Tyne and wear and Northumberland, made to a sound track composed by the Michael Salkeld.
|
|
|
|
|
Nicole A. Romine |
USA / 2019 / 0:07:27 |
The Mistress of Tears embodies blind greed; seductive yet shabby. She drinks the tears of others because she cannot shed her own. She longs to feel something other than the vast emptiness that lives within her. She is drawn to light desperately needing respite from her dark world. The moonlight sates her momentarily but the hunger returns.
|
|
 |
|
|
Craig Rutter |
| Australia / 2020 / 00:01:27 |
A visual insight into my personal experimentations of attempts to realign myself with new ways of thinking and being . One object, one piece of matter, one piece of material but seen through many pairs of eyes with differing opinions & views skew the same form into different variations of visual context. The eternally changing thought processes of the mind of one person can also be imagined to be different pairs of eyes all looking at the same object but in different ways. A different set of eyes for each stage of the past, present and infinite variations for the future. How does one ascertain which vision is the true/real? The choice is ultimately the viewer's as much as it is mine. Blurring the lines of what is real and what is not, in the current climate, is widening the spectrum of what is possible and the lines between reality and imagination are becoming increasingly blurred.
|
|
 |
|
|
Jo Velli |
Italy / 2020 /0:10:45 |
Not a story but a series of visions and awesomeness that are articulated in a path. A trip into the author's inconscious and into the viewer's too, dedicated to the calls we receive and to those looking for keys.
|
|
 |
|
|
Michael Salkeld |
United Kingdom / 2020 / 0:04:00 |
"Seafret" is an atmospheric short water colour film Painted at Tynemouth.................................Tyne and wear
Southshields...............................Tyne and wear
Whitleybay..................................Tyne and wear Errid...........................................Scotland
Iona............................................Scotland Isle of Mull.............................................Scotland
|
|
 |
|
|
Luis Carlos Rodríguez |
Spain / 2019 / 0:06:00 |
At first it was the moving image and the purely audiovisual. The public domain now: allows us to experiment with the narrative, now without its commercial profitability and returns us, for its ecological recycling the images and the craft of making art and the places and laurels where to exist. Now time returns everything. Basting the public domain. Recreating the wonderful music of Berthelot.
|
|
 |
|
|
Dana Berman Duff |
USA / 2020 / 0:09:50 |
A cockroach, a woman, a dramatic encounter in a closet—from the point of view of the roach. Inspired by "The Passion According to G.H." (1964) by Clarice Lispector.
|
|
 |
|
|
Miriam Endrulat |
Germany / 2019 1 0:10:00 |
"Allegro Lambda" continues the attempt to give the otherwise basically two-dimensional, flat style of the so-called "Cameraless Film" a spatiality. The scratched shapes and painted color gradients create a three-dimensional space with the help of digital montage and coloration: handmade pictures in the context of a digital arrangement. This aspect is taken up in the music level, in that the material consciously moves between analogue-acoustic and digital sound worlds. At the double level, this creates an independent overall composition that turns a supposed experiment into an unmistakable observation that goes beyond purely technical awareness. It is an interplay of audible and visible elements, in which one believes to recognize leitmotifs and yet is always led on new paths.
|
|
|
|
|
Susanna Duellmann |
Germany / 2020 / 0:01:00 |
1 min film inspired by Ovid's mythical writing about transformations
|
|
|
|
|
Stefanie Sixt --- Markus Mehr (Music) |
Germany / 2020 / 0:04:34 |
"Bluetopia" illustrates a distance place of longing, an utopia open to everybody. It is the manifestation of „Yesterday the world was in order“ and „It´s all gonna be fine soon“, a timeless, protected space, free from rejection and condemnation - floating.
The movie shows an animated collage of landscape photographs, taken by the Video Artist Stefanie Sixt at a magical place in the mountains of south Germany.
The movie is an hommage to this gorgeous place, to nature itself which is so much more powerful than we are. Human do push their boundaries pretty soon spending time in the mountains. A return of the essentials, a relativization of the proportionally importance of things in life. Humbleness becomes real.
The animation appears like a composition of cut outs in a foggy atmosphere - an animated set arranged as an abstract artistic landscape and space complex, inviting to daydream, to let go. It is a hommage to the pure beauty of nature. Just by rearrangement the wellknown, almost traditional turns into something abstract, reveals itself as something totally new. Markus Mehr approaches the topic from a critical perspective. In an ecologically and economically completely unleashed modern age, in which urban society is largely responsible for the extinction of species, land grazing, the completely unsparing exploitation of land and water, the return to what we call "nature" could mean a silver lining on the CO2-impregnated horizon. Bluetopia starts dissonantly, melancholically, without clearly defined structures and transforms itself in the further course to a composition full of grace. The orchestral dissolution of the piece suggests a supposed perfection, a harmonic exuberance that contradicts the previous one. On a fragile surface, blurred and distorted motifs are reflected in a sound biotope full of melancholy.
|
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
