Future Cinema

Alix DELMAS: Salsas en las bardenas reales | exp. fiction | hdv | color | 13:50 | France/Spain 2007
Christoph MEIER: Ohne Titel (Filmsetperformancebühnefilm) | Video | 35mm | color | 04:20 | Austria 2009
Simon MULLAN: Future Cinema | Video | dv | color | 00:53 | Austria 2007
Dora GARCIA: Film (Hôtel Wolfers) | Video | betaSP | color | 11:31 | Spain 2009
Carles ASENSIO MONRABÀ: Cinema Mundial 1957-2007 | exp. doc | dv | color + b/w | 21:00 | Spain 2008
Gustavo SPOLIDORO: De Volta ao Quarto 666 | doc | dv | color + b/w | 15:10 | Brazil 2009
Ira SCHNEIDER: A Weekend at the Beach with Jean-Luc Godard | doc | dv | 09:59 | USA/Germany 2009
Manuel SAIZ: The Two Teams Team | Video | hd | color | 10:00 | Spain/UK 2008

Alix DELMAS films four people in the desert. In a western-like landscape, they put together shapes in polystyrene. In the twilight, the installation unveils itself. Christoph MEIER showcases a film set with extras, and recreates the anticipation for action and suspense. Simon MULLAN offers an experience like no other: fireworks in a tunnel. Dora GARCIA films architect Henry van de Welde’s “La Maison Wolfers” in Brussels in subjective camera. Sound and image are dissociated and a man’s voice can be heard commenting on the principle of the subjective camera, especially used in Samuel Beckett’s “Film” (1965). Carles ASENSIO MONRABÀ documents the rise and fall of a small theater in Sant Celoni, a village close to Barcelona. The projectionist works there as usual, although he is aware of its impending final close. Gustavo SPOLIDORO asks about the future of cinema. With that same question in mind, Wim Wenders filmed Antonioni, Fassbinder, Godard and other filmmakers at Cannes in 1982. 26 years later, the same question remains and it is now Wim Wenders’s turn to answer the question. In 1978, Ira SCHNEIDER shared a beach house with Jean-Pierre Gorin in California, who invited Jean-Paul Godard, Wim Wenders, Heiner Müller and Jim McBride. Manuel SAIZ films two actors on a set discussing the similarities and differences between video art and cinema, shooting, budget, and the different approaches to fiction and reality that both practices have. All the while the camera moves in on them.