ADAM YAUCH- HOMAGE TO HOMEBOY
October 18, 22:00, KKc cultural centre
Many of you will know Adam Yauch as a co-founder of the successful American hip-hop band Beastie Boys. However, it is not very well known that he also directed many of the group’s music videos under the pseudonym Nathaniel Hörnblowér, a quirky Swiss filmmaker.
Yauch was the driving force behind the ambitious and humorous videos that we are at least as influential for the music video genre as the Beastie Boys’ music was for hip-hop. “Homage to Homeboy” was shown in 2013 as part of the series “Independent Cinema USA” at the Kurzfilmtage Winterthur and celebrates Yauch, who died in 2012, as an indie artist, who was neither bothered by style nor technique and certainly didn’t worry about good taste. All that counted for him were lunatic ideas, a fearless love for experimenting and the courage to produce creative trash, true to the motto “Fight For Your Right – to party”.
SHADRACH, Nathaniel Hörnblowér (Adam Yauch), music video, USA, 1989, 4‘8‘‘
A single from the Beastie Boys’ second studio album, «Paul’s Boutique». Each frame of this animation was painted by hand, designed by the Klasky Csupo-Studio in Hollywood. Because of its complex design and artistic value, the video was part of the «22. International Tournéeof Animation» through out the States.
CIAO L.A., Spike Jonze, music video, USA, 1994, 6’40’’
Three upcoming actors are interviewed – they are the undercover cops from «Sabotage», the music video to the song of the same name, directed by Spike Jonze in 1994. Spike Jonze was the director of this parody as well. Actors were the Beastie Boys and Jonze’s then-girlfriend and later ex-wife Sofia Coppola.
INTERGALACTIC, Nathanial Hörnblowér (Adam Yauch), music video, USA, 1998, 4‘35‘‘
From the 5th studio album «HelloNasty» comes the winner of the MTV Music Awards 1999: A gigantic robot fighting an octopus-shaped monster. The video is a parody on the Japanese tradition of Kaiju-films (monsterfilms like «Godzilla»), and presents a fitting visual interpretation of the band’s creative spirit and wit.
THREE MC’S AND ONE DJ, Nathaniel Hörnblowér (Adam Yauch), music video, USA, 1999, 4‘34‘‘
Another song coming from the studio album «Hello Nasty», which has won two Grammys back in the days. It marks the beginning of the Beastie Boys’ cooperation with DJ Mix Master Mike, who is featuring prominently in the video. Unmistakable, too: The fisheye-look!
A DAY IN THE LIFE OF NATHANIEL HÖRNBLOWÉR, Nathaniel Hörnblowér (Adam Yauch), fiction, USA, 2006, 25‘40‘‘
David Cross is Nathaniel Hörnblowér, Yauch’s Alter Ego. Hörnblowér was born in Appenzell, Switzerland. At the age of 10, he shot his first short film called «My Drunken Toe nail», which, by mistake, was his entry ticket to the Geneva Film Academy. This film shows a day in his life in New York.
DON'T PLAY NO GAME THAT I CAN'T WIN, Spyke Jonze, music video, USA, 2011, 11‘8‘‘
The Beastie Boys as action figures. It was Yauch himself who should have directed the band’s last video. Everything was prepared – but due to his cancer, Yauch could not witness the shooting. Spike Jonze – good friend and long time collaborator – finally realised his vision.
FIGHT FOR YOUR RIGHT REVISITED, Adam Yauch, Music video, USA, 2011, 29‘55‘‘
The video of «Fight forYour Right» is no less than legendary. In his last project, Yauch follows up on the story from 1986: After the party, the young Beastie Boys wander the streets of New York and enter a breakdance-battle with their time-travelling alter egos – and presenting all of Hollywood’s elite.
* SPECIAL SCREENING
METROPOLE, Fritz Lang, scy-fy/drama, Germany, 1925/26, 153'
October 19, 22:00, KSuns
*Restored version with the original soundtrack, in German.
The Gigantic METROPOLIS is ruled over by a Mastermind, who lives in the Eternal Gardens, allocated only to the ellected, while the proletarians slave themselves in the underground. Maria takes on the role of comforter. The mastermind asks inventors to create a robot - a copy of Maria, to provoke the workers for a rebellion and punish them.
METROPOLIS is one of the highlights of 20th century German silent cinema, it's influence on the science-fiction genre and the cinematic assumptions about a futuristic civilization are on-going. METROPOLIS has been reffered to as both the most foolish film of all time, and earned the title: "One of the all time biggest insanities of Cinema". The film can gasconade with it's gigantism, it cost about 7 million German marks (an astronomic amount of money for that time), had 8 lead actors, 750 supporting actors, 25000 male extras, 11000 female extras, 750 children extras. The episode of the creation of the artificial human - robot Maria in the scientist's laboratory has become as classic as "Ballet Mécanique".
/N.Naumanis, D.Rietuma, "365 dienas filmas"/
ENCOUNTERS SHORT FILM AND ANIMATION FESTIVAL, BRISTOL
KNOW YOUR ENEMY - A JOURNEY INTO RADICAL FILMMAKING
October 22, 20:00, KSuns
Being asked to create a programme on radical film immediately resonated with Encounters and our home, Bristol, where activism, street art and counterculture are defining elements of the city’s identity. In Stokes Croft, Bristol’s vibrant cultural quarter, Banksy’s iconic Mild Mild West mural represents a teddy bear throwing a Molotov cocktail at three riot policemen. Exploring the idea of fighting against an enemy across different places and times has progressively become our pathway to this programme, which Encounters Festival co-curated with the Bristol Radical Film Festival, a truly thought-provoking collaboration.
From local to global, past and present struggles resonate and reveal aspects of each other. Dealing with political action, acts of resistance and the grating contradictions lying at the heart of any conflict, these films challenge the viewer with the aesthetic flair and structural anarchy inherent in short filmmaking, which we, as a festival, unconditionally celebrate.
TAGAD, Santiago Álvarez, Cuba, 1965, 6'
Powerful short documentary on the struggle for civil rights of Black people in the United States in the 1960s.
KNOW YOUR ENEMY/
PAZĪSTI SAVU IENAIDNIEKU, Bristolian collective Free Prop, United Kingdom, 1972, 10'
The anti-capitalist statement by Bristolian collective Free Prop, a film as radical in its message as it is in its irreverent aesthetic approach.
ISLAND OF FLOWERS/
ZIEDU SALAS, Jorge Furtado, Brazil, 1989, 12'
A grating satire on consumerism tracking the path of a tomato from garden to dump.
EVEN IF SHE HAD BEEN A CRIMINAL.../
PAT JA VIŅA BŪTU BIJUSI NOZIEDZNIECE..., Jean-Gabriel Périot, France, 2006, 10'
France, summer, 1944: The public punishment of women accused of having affairs with Germans during the war.
THE DEATH ROW/
UZ NĀVI NOSODĪTIE, Maryam Ebrahimi, Sweden, 2013, 6'
One snowy morning 15 figures appear in traditional Afghan mourning costumes in one of the most crowded public spaces in Kabul.
PRATINĀŠANA, Rikun Zhu, China, 2013, 20' 30''
On July 24, 2012, filmmaker Zju Rikun visited three human rights workers in Jiangxi province and was questioned by local police. Zhu turns their encounter into a real-time demonstration of civil disobedience, deconstructing the logic of interrogation.
VIENNA INDEPENDANT SHORTS FILM FESTIVAL
TRIPS AND TRANCE - IDEAS OF A SUBCUTANEOUS CINEMA
October 22, 22:00, KSuns
At the beginning we see a woman – and she sees us. Her hands are fettered over her head, the look in her eyes goes right under our skin, until she becomes unconscious after countless blows. It won’t be the only time in this programme that we will be directly addressed and confronted with unconsciousness and other states of mind. In Karin Fisslthaler’s work tender embraces only leave behind lifeless bodies, while Ben Russel’s protagonists get caught up in a trance, induced either by wild dancing or drugs, resulting in a trance-like cinematic experience due to the uncompromising filmic execution. Harmony Korine’s fever fantasy, however, seems like a nasty trip, while the classics by Takashi Ito and Roy Andersson left a mark on radical aesthetics that one will never forget. This radical form of cinema doesn’t aim for a punch in the gut, but a stealthy unfolding of emotions under your skin.
/Curated by Daniel Ebner und Doris Bauer/
THE SLEEP OF REASON/
SAPRĀTA MIEGS, Michaela Pöschl, Austria, 1999, 14’
The video shows my face. The camera does not move and there are no cuts. My eyes gaze into the camera until I faint. image.
URBIS, Takashi Ito, Japan, 1983, 5’
The camera becomes a sort of drill that eventually compresses and twists a room. Ito freezes and powerfully revives the space through his arduous and precise technique.
SATELĪTI, Karin Fisslthaler, Austria, 2011/12, 7’
Satellites shows images of a strange ritual of powerlessness amongst youngsters spread through the video-sharing platform YouTube. At its center are posing, gestures and touching. Bodies are taken from the “disembodied” space of the internet and embedded into the social context of the cinema, to reflect the rep¬resentation of the body in todays media, the rift between the self and the world, the private and the public.
BLACK AND WHITE TRYPPS NUMBER THREE/
MELNBALTS TRYPPS NR.3, Ben Russell, USA, 2007, 11’
«A filmic portrait of secular rapture that harks back to the great annunciation canvases of Titian and Caravaggio.»
/Michael Sicinski, Green Cine Daily/
SNIEGA PIKAS, Harmony Korine, USA, 2011, 4’
When a filmmaker of decidedly anti-commercial mindset (Kids, Spring Breakers) is given free reign by a fashion company for a commercial, controversies are inevitable: Snowballs is a four-minute fever fantasy, radical, irritating, provoking and rather creepy.
WORLD OF GLORY/
SLAVAS PASAULE, Roy Andersson, Sweden,1991, 16’
A plain, ordinary man tells us about his work as a real-estate broker, his dead father, his ordinary home and so on in a naturalistic voice, lacking any emotions, looking straight into the camera.
TRYPPS #7 (BADLANDS)/
TRYPPS NR.7 (BADLANDS), Ben Russell, USA, 2010, 10’
“Trypps #7 (Badlands) charts, through an intimate long-take, a young woman's LSD trip in the Badlands National Park before descending into a psychedelic, formal abstraction of the expansive desert landscape. Concerned with notions of the romantic sublime, phenomenological experience, and secular spiritualism, the work continues Russell's unique investigation into the possibilities of cinema as a site for transcendence.”
/Michael Green, MCA Chicago/
October 24, 18:00, KKc cultural centre
CINE- JAM SHORT
Cine-jam is like life, a film lab of trial sand errors, a place of freedom for an artist to look for him self and his cinematic language with no judgment or expectations; it is a filmmaking workshop that blossoms every time an artist creates from the heart and a genuine need for any form of cinematic art. Like the universe we celebrate creativity no matter how popular or accepted it is, in cine-jam we create to breathe.
YAGAZA, Alicia Fahead, fiction, Lebanon, 3’30’’
The experience of transitional state from and to sleep.
ONCE UPON A TIME… THE DINOSAUR, Inam Ataar, fiction, Lebanon, 6’
A voyage with the soul… A sneak peak deep down the fears… A face to face… A distorted poem… Complex relationship between truth and fiction…
HOWL, Rita Haddad, fiction, Lebanon, 4’
In the land of childhood dreams the monsterisking. Four minutes of the monster within, a wolf, a girland a bed.
HOME, Remi Maksoud, fiction, Lebanon, 8’
A chapter from a womans life.
JOOJANNA, Jamal Jaffar, fiction, Lebanon, 5’50’’
The bloody childhood of a boy and the birth of a man.
METRONOME, Cyril Aris, fiction, Lebanon, 5’
The last moments of a father and son through the eyes of a grandson.
ROT IN HELL, Cherine Khoury, fiction, Lebanon, 4’12’’
A girl in rage against abuse meets a deconstruction site.
* SPECIAL SCREENING
October 24, 20:00, KKc cultural centre
MARCEDES, Hady Zaccak, documentary, Lebanon, 2011, 68’
Sixty years of the history of Lebanon seen through the story of the Mercedes Ponton (the 180 model) and its German-Lebanese "family" locally called "Marcedes".
Marcedes: the story of a car, the story of a family, the story of a country.
October 21, 23:00, KKc cultural centre
2ANNAS asks whether one can talk about other things unrelated to the sexual needs through sexual irritation.
Curator: Anna Veilande Kustikova // 2ANNAS
THE SHADOW OF YOUR SMILE, Alexei Dmitriev, experimental film, Russia, 2014, 3'
The shadow of your smile, when you are gone.A teardrop kissed your lips and so did I
I AM MONSTER, Shannon Lark/Lori Bowen, fiction, USA, 2014, 18'
Vivienne's extraordinary fetishism has taken her to a new level: necrophilia. She gets her kicks by violating the dead in a hospital morgue on the outskirts of the city, discarding them like trash. Tonight, however, Vivienne gets a whole new taste of what the dead can provide when she meets Jason, a fresh body who has some ideas of his own.
PLEASE RELAX NOW, Vika Kirchenbauer, experimental film, Germany, 2014, 13'
So, here’s the deal. This is an immersive piece. And only through your thorough collaboration will it unfold in its full richness. Only you can give life to the artwork. You will not be a spectator anymore. You’ll become much more than that. You’ll become an integral part of the piece. You will in fact become everything! You will become the artwork!
THE WORK OF ART IN THE AGE OF YOUTUBE REPRODUCTION:
FAN-MADE MUSIC VIDEOS
October 24, 23:00, KKc cultural centre
The screening will be organised as a lecture, free entrance
YouTube was established in 2005. Since then, it has revolutionized the way the audience experiences moving image. Material that used to be exclusive and hard to find now is just one or two clicks away, accessible 24/7 to everybody with access to the Internet. To talk about this new YouTube phenomenon which clearly shapes the way the audience experiences other forms of moving image, such as cinema and TV shows, the curator has selected a couple of fan made videos. This material represents the blurred lines between the authorship and the audience, putting the YOU in YouTube. In some cases, the fan made videos turn the maker into a YouTube sensation. In most other cases, the new video just falls in to online abyss. In the end, the question that needs to be asked is why do people make their own fan made videos? And where do we go from now, when the boundaries between professional and amateur have become thinner than ever. Curator: Agnese Logina, 2ANNAS