I’m such a also-ran for falling comatose both times I approved to watch Battleship Potemkin, I berated myself back a acquaintance afraid me with the activity to be his 1 at the Moscow All-embracing Experimental Blur Festival. A cyclone of acceptance applications, and anon I was accession at Sheremetyevo Airport, acquisitive for some atom of acumen into how the abutting few weeks would unfold. Though it plays to a mainly Muscovite audience, the anniversary — now in its fourth year — boasts a heavily all-embracing slate. In fact, alone one antagonism entry, Victor Ailmpiev’s Piazza (2018), was a Russian production. Opening night commenced with Lawrence Lek’s AIDOL (2019), the account of a démodé diva set in a digitally rendered Malaysia of 2065. The screening was captivated at Dom Kino, a blur club ancient by Sergei Eisenstein — a atom of acquaintance to acclimatize me amidst the change of my aboriginal day in Moscow.
Later in the weekend, I bent Stephen Broomer’s Tondal’s Vision (2018), one of several appropriate screenings abutting the antagonism program. Tondal’s Vision pays admiration to L’inferno, an aboriginal accurate adjustment of Dante’s Divine Comedy, by rephotographing and altering a book of the 1911 film. The consistent 16mm book was formed over through both analog and agenda means, pushed and attenuated to the boundaries of abstraction. The addition by a acclaimed Russian medievalist was, of course, in Russian, and they never fabricated me apprehend Dante at Barnard, so my apperception was at Broomer’s mercy. Like best of the films that fabricated the festival’s cut, Tondal’s Vision is agilely un-didactic, sometimes to the point of impenetrability. But the wavering, blithely black bodies of archival celluloid, burst to the margins of allegorical representation, absorbed me for the abounding 64-minute runtime. ASMR-ified into acoustic activity by the projector’s affable hum, I couldn’t advice but feel keyed in to some faculty of connection.
There’s a assertive melancholia allegation to the affectionate of beat cinema that floats and melts, area shifting, acrid forms are acquainted in the anatomy afore they can be affianced bottomward by the mind. Typically, these qualities are associated with analog, and decidedly with absolute filmmaking. But as the festival’s calendar asserts, agenda cinema shares this power. AIDOL, created in the video bold development apparatus Unreal Engine, has a analogously wavering, abstruse affection to assertive shots. During a Q&A, one eyewitness asked if it had been produced application neural networks, apropos to that different ablaze visuality associated with apparatus acquirements that recurs throughout the film.
Similarly, Rainer Kohlberger’s It has to be lived already and dreamed alert (2019) employs a static-glazed acoustic abuse in its alarm to action, thematizing ecological crisis admitting its about ambiguous abstraction. The film, which is about structured as an apocalyptic thriller, comes calm through damaged, dawdling movements. Electromagnetic arrest and agenda baloney absolute ashen abstracts onscreen, angry calm by ambiguous and awesome voiceover. Stefano Canapa’s The Complete Drifts (2019), a impaired ballet of alluring complete waves, snagged a board award-winning for its postproduction work. Beyond these films, a faculty of textural, embodied acuteness transcends media and agency of production. I begin that the faculty of activation conveyed beyond these films seemed to transcend the verbal, leaping into physicality. My abominably monoglot American academician was revved up alike back I forgot my glasses and couldn’t apprehend the subtitles, aloof through the arduous academic atrocity of it all. It alleged to apperception Dziga Vertov, who absurd a accepted accurate accent bright accuracy — kino pravda — beeline accomplished the accent case into viewers’ hidden through adroit evocation.
Are these abstractions alone a agglomeration of Rorschach inkblots assimilate which one can activity a fantasy of intercultural affinity? This achievability crosses my apperception as I accede the lulls in Dora Garcia’s Segunda Vez (2018), a apart snapshot of the Argentinian artisan Oscar Masotta. The blur is stitched calm from re-stagings of Masotta’s Happenings — abolitionist performances originally put on in 1960s Argentina, accountable to Lacan, apropos periodically to Allan Kaprow, and buried at the anniversary with Russian subtitles. Though the film’s circuitous clip feels altered with the political coercion of its accountable matter, the best moments of its meandering continued takes admission a aces payoff: a faculty of absent account aggregate with the participants onscreen, alike beyond disparate layers of cultural context. Somehow, it all translates.
In a affairs so broad, so all-embracing in its embrace of academic analysis as in its all-embracing scope, analytic for a accumulation cilia is acutely reductive. Yet MIEFF had, for me, an awfully aerial hit rate. I sat captivated in the celebrated Illuzion Cinema for added after hours than I’d spent watching movies this year to date. Exceptional programming, jet-lagged delirium, or mind-boggled bigoted naiveté? Alarm it what you will, but back I broadcast the story, I accept to brainstorm it as an acquaintance of 18-carat kino pravda.
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