Strata of the Image (2015, Lois Patino)
The backlit figure from the Phil Solomon shorts stands motionless before a monochrome waterfall, which gradually colorizes into a full rainbow. Peaceful, silent and short, but it feels more like an art-gallery screen-saver than a festival short – and indeed it was, originally.
Fajr (2017, Lois Patino)
Desert figure tableaus, this time with rumbling wind sound then a vocal song, but back to monochrome, each shot looking like the motionless standoff before a samurai battle begins. I dig how each shot is too dark when it begins, and gradually, imperceptibly brightens, but still getting a gallery vibe. When the figures in the final shot dissolve into spectral light then the ocean washes away the desert, this short jumps way ahead of Strata.
Night Without Distance (2015, Lois Patiño)
Technically, this film and Strata are LNKarno selections, having played the Fuori Concorso in Locarno 2015, and this one also appeared on the lists of experimental films I’m following, so I get to count it twice.
Dialogue! Color-inverted tableaus of motionless figures, but this time with dialogue. They’re gonna sneak over the mountains from Galicia with some sort of contraband. The scenario is tense and dangerous, but you wouldn’t know that without sound – the film visuals with their slow-moving figures betray no sense of urgency, even though some are holding rifles.
The Glory of Filmmaking in Portugal (2015 Manuel Mozos) 720p 17min
While we’re in Portugal, here’s a cool little movie, mostly edited from archival materials, investigating four minutes of mysterious footage which seem to prove that a group of poets in 1930 teamed with a French cinematographer to attempt to launch a Portuguese cinema. It seems their attempt was aborted, and Manoel de Oliveira came along the following year anyway, so the country just pinned all its hopes on him.
The Girl Chewing Gum (1976, John Smith)
Something completely different: a street scene with traffic noise and a ringing alarm in the distance, the director shouting out orders to the extras and the cameraman telling them when to make each move… but it’s really ordinary documentary footage with the voiceover added afterwards. Towards the end he speculates that a man in a raincoat just robbed a bank, which explains the alarm. This movie presenting doc footage as planned orchestration has funny timing, since when the collector brought out his reels of mysterious film in the previous short I wondered if this was true or a Forgotten Silver situation. “Art Basel” seems to be a Locarno program of shorts brought over from the same year’s Gässli fest.
The Village Voice, as excerpted on Smith’s website: “Smith takes the piss out of mainstream auteurist ego, but provides proof of the underground ethos: Even with meagre mechanical means, the artist can command the universe.”