FRIDAY, MAY 19 – 7:30 PM
THURSDAY MAY 25 – 10 PM
kinet.media is an online publishing platform catered to the dissemination of new and boundary pushing avant-garde cinema. Aiming to expand the potential of the internet as a space for cinematic exchange, the site provides a localized space wherein works exhibiting a wide range of emerging formal tendencies can come together in dialogue.
Since Kinet’s inception in July 2016, five unique film programs have been published for free viewing. Pursuant this selection films from past programs, Spectacle will host the premiere screenings of future Kinet programs prior to their online release.
For the inaugural screening the following works have been selected:
dir. Alexandre Galmard, France
2016. 12 mins.
This movie was mostly made in Paris in the span of a year, from the attacks of November 2015, the refugee crisis to the protests of early 2016 against several reform projects.
This movie was set in motion by a collaborative neighborhood art project (with Angelina Battais and Victoria Linhares) which was followed by the occupation of Place de la République referred to as “Nuit Debout” that started the night of March 31st, after hours of protest under the rain.
République does not cover all the converging struggles associated with living in Saint-Ouen and in the proximity of such procedures but works through the fragmented forms that were drawn from it. His aim is not to recollect and sum up all of the activities undertaken this year but stands as a remainder for future formalizations.
UNTITLED (CAMERA ROLL)
dir. Douglas Dixon Barker, United Kingdom
2017. 2 mins.
Archiving iPhone images to 35mm film. digital and analogue distortions. In this case the colour blue.
dir. Ryan Ermacora & Jessica Johnson, Canada
2015. 13 mins.
A lyrical study of the nearly abandoned company town west of Bella Coola that all but withered and died once its existence no longer made financial sense. Ryan Ermacora and Jessica Johnson invite us to marvel at the stark contrast between the vibrant coastal forests and the manmade structures that have fallen into ruin. An almost spectral presence is on hand to impart tales of a rebellious past and we’re left to consider the grim fates that sometimes befall grand schemes.
dir. Karissa Hahn, US
2016. 4 mins.
a piece of my cinematic tension series, one leaning toward release
making a pot of tea, listening to the radio,
a sculpture of pose, a gesture incomplete
– no relief
a tea kettle boiling to silence is a petrified thought
air mattresses are the worst to fold up
dir. Saskia Gruyaert, Raya Martin & Antoine Thirion, France
2010. 20 mins.
After the death of her boyfriend, a young woman leaves for the countryside in the south of France, seeking nature, spirits and the forest.
dir. Isaac Goes, US
2017. 3 mins.
A shot-for-shot in-camera recreation of an iPhone movie. Filmed over the course of 1 day from sunup to sundown.
Each individual shot in the iPhone cut (filmed and edited one month prior) was timed and each location mapped. Because the film was edited sequentially in-camera, physical movement through space was required in mimicking the cuts of the digital version – an unfolding of montage in real environments. The iPhone movie was constructed so as to form a map, the 16mm film is the traversing of the points plotted. Periodic shots of empty skies mark the passage of time through color.
The film’s digital counterpart has been deleted.
dir. Miguel Mantecon, US/Philippines
2016. 25 mins.
If to obtain a legacy one must diminish their self, then life, the embodiment of living, must evaporate only to be spread about, felt elsewhere by others, often unknowingly. But not known, is a legacy contested? Goodbye Philippines surveys an undead landscape, textured by phantoms. It is as if this feeling of a legacy regards tradition and cultural custom as memories repossessed by the setting. Here a family less acts and instead sets the scene for departure, in preparation for some entrance, whether it is into a room or a different realm. But is entering here where even the most banal tasks are elucidated and no longer customary, rather made a part of mythology.
Jessica Johnson is an experimental filmmaker living in Vancouver, B.C. She works predominantly with 16mm film making short experimental works that intend to shift perspectives on landscape. Her films have played at Canadian festivals such as VIFF, DOXA, Festival du Nouveau Cinema and WNDX.
Ryan Ermacora (1991) is an award-winning artist and filmmaker based in Vancouver, BC. His work investigates the visible and invisible ways in which humans have engraved themselves into natural spaces and is informed by an interest in avant-garde depictions of landscape. His style is defined through a self-reflexive and structural approach to cinema. His work has been chosen for screenings at DOXA Documentary Film Festival, WNDX, The Vancouver International Film Festival and international festivals.
Karissa Hahn is a visual artist based in Los Angeles.
Born in 1984 in the Philippines, Raya Martin has already directed several features and short films. In 2005, he participated in the berlinale talent campus. His film NOW SHOWING was screened at the Cannes Directors’ Fortnight in 2008. One year later, the feature film INDEPENDENCIA, which was supported by the Berlinale World cinema Fund, as well as the feature film MANILA were both shown at the Cannes Film Festival 2009. Martin’s latest film, BUENAS NOCHES, ESPAÑA premiered at the Locarno Film Festival 2011, where he was also part of the jury for the international competition. Raya has also been a recipient of the prestigious 13 Artists Awards in the Philippines in 2009. A retrospective of his works have been featured in Paris, Buenos Aires, Mexico City and Las Palmas de Gran Canarias. In 2012, Raya’s films were presented at documenta in Kassel, Germany, and a retrospective of his films was screened at the Korean Film Archive, South Korea, and the Museum of the Moving Image in New York, USA.