SET I: BETWEEN REAL AND DIGITAL WORLD

81’

25.06 / 14:45
Muza Cinema, screen 3
26.06 / 19:30
Muza Cinema, screen 3
28.06 / 14:30
Muza Cinema, screen 3
Artificial Empathy

Zoopticon, Jon Frickey, Thies Martin, Sandra Torstel, Niemcy 2023, 29'07"  

Dreaming is the mind left to itself, Dagmar Schürrer, Niemcy 2022, 5'33"  

Billy Takes a Break, Jack Jelfs, UK 2021, 7'29"  

From Voice to Pulse, Zeno van den Broek, Niderlandy, 2022, 10'44"  

Death of the body and its mother, Bartosz Siejak, Polska 2023, 2'35"  

Planets And Robots, Julius Zubavisius, Antanas Skuca, Litwa 2022, 5'39"  

Polarizer, Filip Sterckx, Belgia 2023, 2'28"  

Miisufy, Liisi Grünberg, Estonia 2023, 10’25”  

The Looking Game, Ann Upton, UK 2023, 7'  



Okładka filmu Billy Takes a Break Billy Takes a Break Jack Jelfs 2021 / 7’ 29” / United Kingdom

The germ of this film is a memory I have of visiting the Tabernas desert in southern Spain, while on holiday years ago. This desert was used as a stand-in for the American southwest in a bunch of so-called spaghetti western cowboy films made in the 60s and 70s (the term "spaghetti" refers to the Italian origin of many of the directors of the films, but most of the actual shooting locations were in Spain). There are even a few surviving film sets from that era that are now tourist attractions, with names like Fort Bravo and Western Leone. Something about the artificiality and incongruity of these fake towns, dry and dusty monuments to the illusion of cinema in the middle of the Spanish desert, really stuck with me. I also like works of fiction that knowingly point to the fact that what you're experiencing is fiction. I was thinking about Beckett's trilogy of novels (Molloy, Malone Dies and The Unnameable) in which every character is a fictional creation of another, and ultimately trapped in their fictional condition; or Jostein Gaarder's novel Sophie's World, where the protagonists similarly realise that they're characters in a story. I've always loved the stories of Philip K. Dick too, which are never afraid to pick at the ontological boundaries of the worlds and characters they contain. Also in there somewhere is the story of Pinnochio, and the weird father-son relationship between Gipetto the puppet-maker and Pinnochio the wooden boy he builds, who seeks an impossible transcendence from the limitations of his material condition. I think the final influence came from doing a few tarot card readings early on in the process of developing the ideas. One card I drew was the Wheel of Fortune, from which came the idea of being stuck in a Groundhog Day-like loop, the same situation repeating over and over. The other card was The Devil - I think that the voice, and maybe the landscape and computer-generated environment itself, are all aspects of some demonic force that keep Billy stuck there. 

 

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