FILM PROGRAMMES

Thursday, 18 May 20:30, Vagonu Hall

A FACE IN THE CLOUD

Curator: Ulrich Ziemons

A common event: You look up into the sky, dense with clouds passing by above. Suddenly, a shape manifests itself out of the billowing mass of droplets and particles. Something you recognize, something you have seen before, something palpable, describable. An object, an animal, a face. You blink. It is gone. This program brings together films that – in one way or another – dealwith ambiguous and ephemeral images. Their makers investigate film’s ability to store, layer and project time. The images they find and create are situated at the edge of memory and imagination, between remembering and envisioning, past and future, unveiling and obscuring. They leave gaps for the viewer to fill – images whose construction, status and temporality remains unclear, unexplained, uncanny. What makes an image real, what makes a memory true?

Friday, 19 May 18:00, Vagonu Hall

ALERT STATE

Curator: Aurélie Percevault

On the alert, to alert, being alert. Variations on states of heightened attention, in the filmmaker's gaze, the object / subject he-she observes or the viewer's reception. A range of films in various tones, from humour to critical distance, from sharp observation to deep contemplation. Hammered injunctions of the self improvement industry, image to be seized on the fly, horizons scrutinised in a subtle play of scales. Beauty and decay intertwined in a playful sensory oversolicitation. Diving into the depths of the forest, the essence of the cycles of life and death, the warning signs and the sudden reversal. Exultation defies the perennial police surveillance with a backdrop of nihilism. Watchers and the watched. Then the gentle ballet of an aerial panopticon. The calm before the storm? In the background, omnipresent, the shadow of a latent threat persists.

WAKE UP WAKE UP WAKE UP

To Do. Saul Pankhurst

UK / 2022 / 3’20” / sound / 16mm to digital

Che. Ignacio Tamarit

Argentina / 2023 / 17” / optical sound / 16mm

FACE HOME VIEW. Raquel Vermunt

Netherlands / 2022 / 8’40” / optical sound / 16mm

Color Prism Suite #2: Withering Ends. Zack Parrinella

US / 2021 / 3’45” / optical sound / 16mm

Osmose / Osmosis. Laurence Favre

Switzerland, Germany / 2022 / 11' / optical sound / 16mm

Film porte-malheur: Le pain / Bad Luck Film: The Bread. Gérémy Lelièvre

Belgium / 2022 / 3’45” / digital sound / 16mm

2940 N Campbell. Jacob Kessler

US / 2022 / 4’10” / sound / 16mm to digital

Cinzas e Nuvens / Extended Presences. Margaux Anne Ali Dauby

Belgium, Portugal / 2023 / 12’30” / sound / 16mm to digital

Palpar el FIN / On the edge of the END. Colectivo INDEX

Colombia / 2023 / 5’30” / sound / 35mm slides to digital

Estuary. Ross Meckfessel

US / 2021 / 11’30” / sound / 16mm to digital

NYC RGB. Viktoria Schmid

Austria / 2023 / 7’ / sound / 16mm to digital

THAT WAS WHEN I THOUGHT I COULD HEAR YOU. Matt Whitman

US / 2021 / 8’40” / no sound / 16mm

I Have Seen the Fire Ship. Daniel Murphy 

US / 2021 / 6’30” / sound / 16mm to digital

REVOLVER. Crystal Z Campbell

US / 2022 / 17’30” / sound / 16mm to digital

vs. Lydia Nsiah

Austria / 8’ / 2021 / sound / HD video & 16mm to digital

Sunday, 21 May 20:00, Vagonu Hall

SECRET LINKS

Curator: Lāsma Bērtule

Seven films that deal with finding, losing and making connections. The threads weave into fabrics of families, cities, memories, songs, or riddles with no answer, and we are invited to discover patterns that we didn’t know before. It can be terribly sad and impossibly beautiful, and funny, and sometimes all at once, letting us equip ourselves with hope in the face of destruction.

Thursday, 18 May 18:00, Vagonu Hall

Baltic Experimental

Curator: Ieva Balode

The programme consists of the latest experimental films made by authors from the Baltic countries who not only choose to work on photochemical film but also create experimental narratives and engage with film's materiality and structure. This year's programme showcases works by members of Baltic Analog Lab and authors who are somehow connected to the lab.

Impetus. Miglė Križinauskaitė-Bernotienė

Lithuania / 2022 / 4' / sound / 16mm to digital

Can’t Help Myself. Anna Ansone

Latvia / 2022 / 19' / sound / 16mm to digital

Pleasing to the Eye. Signija Joce 

Latvia  / 2023 / 4' / sound / 16mm to digital

Thanatophobia. Ieva Balode, Michael Higgins

Latvia, Ireland / 2022 / 11' / sound / 16mm to digital

Time Here No Longer. Jāzeps Podnieks

Latvia  / 2022 / 15' / sound / 16mm to digital

Teacup Part 1. Artūrs Lūriņš

Latvia / 2023 / 5'30'' / sound / 35mm to digital

lost fps // they come out in the dark. Sintija Andersone

Latvia / 2023 / 5'/ digital sound / 16mm 

RAINBOW VISION SPECTRAL EXPRESS. Ieva Aleksa, Artūrs Lūriņš, Elīna Matvejeva, Sintija Andersone, Dāvis Gauja, Andrejs Strokins, Mersedes Margoit, Kei Sendak

Latvia / 2023 / 12' / digital sound / 16mm

Sensitive Material. Natalya Ilchuk

Ukraine, France / 2021 / 26’30” / sound / 8mm to digital

Two Cancers. Josh Weissbach

US / 2021 / 3' / no sound / Super8 to 16mm

Dans les cieux et sur la terre. Erin Weisgerber

Canada / 2022 / 11’40” / optical sound / 16mm

Época es poca cosa / Epoch isn’t big deal. Ignacio Tamarit, Tomás Maglione

Argentina / 2021 / 2’45” / optical sound / Super 8 to 16mm

L’Incanto / Enchantment. Chiara Caterina

Italy / 2021 / 20’ / sound / 16mm & Super 8 to digital

Бабушка Галя и Дедушка Аркадий / Grandma Galya and Grandpa Arkadiy. Anna Kipervaser

Ukraine, US / 2023 / 5’ / sound / 16mm to digital

I am a. Dagie Brundert

Germany / 2022 / 2’30” / sound / Super 8 to digital

Sunday, 21 May 17:00, Vagonu Hall

Retrospective: Schmelzdahin

Curator: Jānis Putniņš

Schmelzdahin group was formed in Bonn in the end of the 1970's when three young artists Jürgen Reble, Jochen Müller, and Jochen Lempert started practicing alchemy of light and image, subjecting both self made and found footage to different kinds of physical treatment. The spectrum of their actions was wide – film was putrefied, left in pond water for months, transformed with various chemical substances, physically attacked in many different ways, and, of course, melted (an approximate translation of “Schmelzdahin” could be “melt away”). The outcomes of these experiments were preserved on film with an optical printer, resulting, over a more than ten year long period, in many visually impressive collaborative works that, instead of a structured narrative, affect the viewer with an unbridled visceral energy, surreal humour and a creative approach to the soundtrack.

This programme consists of six quite different films by Schmelzdahin, created in the group's most prolific period between 1984 and 1988. They let us both appreciate the diversity of the artists' creative expressions, and notice the elements embodied in all of these works: a deep interest in natural phenomena, a love for the visual qualities of the image, a punk rebelliousness, and an ironic attitude towards popular culture.

Wednesday, 17 May 18:00, Vagonu Hall

Noise Spectrum Frequencies 

Curators: Kristaps Epners, Rvīns Varde, Adriāna Roze, Mailo Štern, Rihards T. Endriksons, Marija Luīze Meļķe, Artis Svece

We approached seven people from different fields whose thoughts we resonate with. We asked them to choose one of the submitted films that they feel in some way connected to. This kaleidoscopic programme consists of works selected by this varied group of curators, celebrating the different perspectives, sensibilities and approaches on the side of filmmakers as well as spectators.

Carolee, Barbara & Gunvor. Lynne Sachs

US / 2018 / 8' / sound / 16mm to digital  

Skyscraper Film. Federica Foglia

Italy / 2023 / 8' / sound / 16mm to digital

Sight Leak. Zuqiang Peng

China / 2022 / 12' / sound / Super 8, 16mm to digital

Sky Room. Marianna Milhorat

US / 2017 / 6' / sound / 16mm, 35mm to digital

Potemkin Piece. Justin Clifford Rhody 

US / 2022 / 1' / sound / 35mm to digital

Ashes by name is man / Popiół imieniem jest człowieka. Ewelina Rosińska

Poland, Germany  / 2023 / 20' / sound / 16mm to digital

Transhumance. Elodie Ferré

France / 2023 / 5' / digital sound / 16mm

Stadt in Flammen / City on Fire. Schmelzdahin

Germany / 1984 / 5' / optical sound / 16mm

Weltempfänger / World Receiver. Schmelzdahin

Germany / 1985 / 5' / optical sound / 16mm

Aus den Algen / Of algae. Schmelzdahin

Germany / 1986 / 10' / magnetic sound / Super 8

Der General / The General. Schmelzdahin

Germany / 1987 / 13' / magnetic sound / 16mm

Schildmeyer Darlaten. Schmelzdahin

Germany / 1988 / 10' / magnetic sound / Super 8

Krepl. Schmelzdahin

Germany / 1988 / 8' / magnetic sound / Super 8

Special Events

Wednesday, 17 May 20:00, Vagonu Hall

OPENING NIGHT

17-20 May, 17:30-00:00, Bar 1983

INSTALLATIONS

Welcome to the opening night of the fifth PROCESS! After the introduction to the festival's programs and artists, an audiovisual piece produced in a workshop by students of the current BAL film school will kick off the festival. In the workshop, run by Lynn Loo and Guy Sherwin, people will experiment with several methods for creating abstract images directly on film as well as for using 16mm projectors as real-time performance instruments. Following the “noise spectrum” theme of this year's festival,  the optical sound track will be of particular interest.

Mixmaster AG will play and mix vinyl tracks later on!

Everything Comes Full Circle. Lilan Yang

16mm film loop installation

Traveling from Houston, Texas to Los Angeles, California, I used a 16mm Bolex camera to capture the vastness of the American West. The footage draws me to reminisce about snippets of my everyday life. I contemplate how we perceive the world through analog optical apparatuses and how memories are multidimensional yet fragile. Our recollections of people and places can be distorted, unrecognizable, and fictitious. These memories would eventually diminish with the passing of time. Everything Comes Full Circle is a personal attempt to remember things that will soon be forgotten.

The original footage was shot in Kodak 16mm film stocks during the summer of 2021. Later the digital moving images were inkjet printed on clear film spliced together with perforations cut out with a laser cutter. Each run of the projection makes the printer ink slowly melt, and the film will eventually fall into decay over the course of time.

Born and raised in Chongqing, China, Lilan Yang is an artist, cinéphile, and flâneuse whose practice involves both digital and analog media such as computing, data visualization, machine learning, photography, and filmmaking. Her artistic practice focuses on how we perceive the world through analog optical apparatus compared to digitally shared media, how memories can be multidimensional and fragile, and our recollections of people and places can be distorted, unrecognizable and fictitious. She holds a BS in Computer Engineering from University of Illinois at Urbana-Champaign and an MFA in Digital + Media from Rhode Island School of Design.

Between Us. Elīna Matvejeva

Video installation

Sometimes I have this strange feeling that the world isn't what it looks like. People talking about time, trying to be in time, in places... Have you ever done time traveling? My feelings are so strong that I can feel you even if you are somewhere else. Even if I don't know you. Perhaps this is the wrong place to be. I close my eyes, take a breath, jump… and then it’s different. I want to show you my little visual thoughts about us. About us who go somewhere, who stay, who are strangers, lovers, rich ones, sad ones. Let’s take a walk in a timeless space, no horizon.

Elīna Matvejeva is a cinematographer, video artist and filmmaker from Riga, Latvia, exploring experimental and narrative cinema fields and analog and digital media. As a cinematographer she has worked on several documentaries and short films, as well as television projects, and is now finishing her first feature film. As a video artist she has done theater and dance projects, art exhibits and video performances. Since 2017 she is a member of Baltic Analog Lab and focusing on the analog format. She holds a BA in cinematography from RISEBA University and is currently approaching an MA in Audiovisual Art at the Latvian Academy of Culture.

Sunday, 21 May 14:00, Baltic Analog Lab

Discussion

17 and 20 May

DJ Sets

ON EXPANDED CINEMA

A discussion with artists working in expanded cinema on the specificities of their approaches to this embodied, ephemeral strand of experimental moving image practice. What happens when the cinema machine is used like an instrument, when disembodied, mechanical precision is reconfigured through chance and human intervention? How does expanded cinema challenge and reconfigure the cinematic dispositif?

With participants of Process Expanded program

Moderated by Ulrich Ziemons

17 May 21:30, Nurme Taproom

Afterparty with Mixmaster AG

Mixmaster AG is one of the pioneers of hip-hop culture in Latvia - an old-school DJ master, active since the end of 80's. Disco mixing, Latvian Beat, Universal Groove Music and real Funk from the old records.

Saturday, 20 May 23:00, Bar 1983

Afterparty with Radio Intervilnis

Dark wave / post punk / minimal synth from vinyl records, played by Stropu Jurka.

PROCESS EXPANDED

Curator: Ieva Balode (Latvia)

The programme consists of the latest experimental films made by authors from the Baltic countries who not only choose to work on photochemical film but also create experimental narratives and engage with film's materiality and structure. This year's programme showcases works by members of Baltic Analog Lab or authors who are somehow connected to the lab.

Friday, 19 May 20:30, Vagonu Hall

Umbráfono. Enrique del Castillo (Spain)

Sound performance using 35mm optical soundtrack, 40'

Umbráfono is a project by Enrique del Castillo (Jaén, 1982) that consists of a performance with an optical reader capable of transforming light stimuli that are projected onto a photosensitive cell into sound. These luminous stimuli are generated by a beam of light passing through celluloid films which are designed from a scheme of relationship between wave frequency of the notes and repetition of geometric shapes, so that harmonic sounds can be achieved, noises, sound textures and atmospheres.

This project is based on the optical-analog reading system used in the cinema since 1919 to interpret the soundtracks that are part of the films.

The read heads have been modified to read multiple voices simultaneously and to function as independent instruments. The pieces that make them up have been damaged and manufactured by the author, as well as the films used, which are original compositions without a copy.

Performer

Enrique del Castillo (Jaén, Spain, 1982) trained in Fine Arts at Granada University, completed a Master’s at Barcelona University and has developed his artistic career both in painting and sound art. Collaboration with the experimental filmmaker, Miguel A. Puertas sparked his interest in celluloid as sound media, and since 2018 his practice has centered on developing and performing with optical readers which transform patterns on film into sound.

Man With Mirror. Guy Sherwin (UK)

16mm film performance with mirror and performer, 1976-2009, 10'

A historical expanded cinema piece with filmmaker's live interaction with his on-screen image which is projected onto a hand-held mirrored screen.

The screen is white one side and mirrored the other, and is used by the performer to either 'catch' the projected image, or reflect it around the cinema space. The image on film is of the same activity happening in a sunlit landscape. Visual echoes are set up between the live event and the recorded one. 

Performer

Guy Sherwin is one of the fundamental expanded cinema authors from Europe who studied painting at Chelsea School of Art in the late 1960s and taught film printing and processing at the London Film-Makers' Co-op (now LUX) during the mid-70s. His films work with fundamental qualities of cinema such as light and time, and often use serial forms and live elements. They are exhibited in a variety of contexts: galleries, film festivals, cinemas. His recent works include installations made for exhibition spaces and performance collaborations with an artist Lynn Loo working with multiple projectors and optical sound.

Patterns. Jan Kulka (Czech Republic)

60mm film performance with Archeoscope, 32'

Patterns is an experimental handmade film created by printing on a 60mm film base. It is intended to be screened as a live film performance using a special projecting apparatus called the Archeoscope created by the artist himself. The film examines the cinematic potential of patterns. What regular, repetitive structures on film can do when being screened in various ways. This film was made to present a unique opportunity to experience the essence of the fundamental nature of patterns directly in live action. It is an audiovisual struggle between chaos, and order. A Logos brought to life, set into an intensive luminous spectacle. An immersive sensorial play in which the eye is constantly trying to catch up and the brain struggling to make sense of it all. The interferences of various spacial and temporal patterns creates numerous visual creations, variations and modulations on the screen and, subsequently, in you mind. Out of all this arises something new nowhere else to be seen. The live projection of this film is technically irreproducible, so the only way to experience it, is to witness it with the naked eyes.

Performer

Jan Kulka (1985) is a Prague-based experimental filmmaker dedicated to analog film who explores the fundamental principles of the film medium, it's phenomenology and physiology of perception in contemporary context. His aim is to dig to the core, reaching to the primary essence, which we all share in common somewhere deep inside and bring it into a live, shared experience. He incorporates the creation of own instruments in the creative process. His primary focus is on inventing of special projection apparatuses for live performances. Rather than telling a story, he tries to target the very senses of each spectator directly with light and sound to reveal some of the foundations of our perception, that makes our being.

Eye Ardentia. Miguel Ángel Puertas (Spain)

3 x 16mm film performance with live optical and analog sound, 2023, 45'

A sum of abstract visual and sound fields creates an aesthetic experience based on the materiality of celluloid and wave oscillations in various media. Diffractions of sunlight in water and the synthesis of color-light, join a hypnotic and enveloping sound to bring this abstract piece of poetic and intriguing passages to a particular way of perceiving cinema.

An immersive experience of live cinema that highlights what are called fleeting defects of vision. A study where sound variations dance alongside light waves in a stream of electrifying and poetic visions.

Performer

Miguel Ángel Puertas was born in Almería in 1980. He develops his cinematographic work in a self-taught way from studies in Artistic Photography and Advertising Graphics, paying main attention to the autonomy of the creative process, both of the discourse and of the material means with which it is created and displayed. His work spreads from working in the lab to the screening room. Initiated in video art, he has worked and collaborated as an editor in production companies such as Neon Rouge, MoonWorld Records or Rtbf and the independent laboratory LABO Bxl. He co-founds the Gui ColleC collective, a nexus of audiovisual experimentation focused on film practices and live music.

Saturday, 20 May 20:00, Vagonu Hall

Paper Landscape. Guy Sherwin (UK)

16mm film performance with frame, paint and a performer, 1975-2008, 10'

Paper Landscape is one of a series of self-portrait performances that see Sherwin as a kind of film magician interacting in the live moment with a pre-recorded version of himself. Here, the artist stands behind a transparent screen onto which he applies white paint. This white surface makes visible an image of the same artist tearing up a paper screen to reveal a landscape behind. The performance progresses until the screen is entirely covered yet simultaneously uncovered, as the live action gives way to a filmed representation. Finally, the filmed figure disappears into the distance and the live performer cuts through the screen to reappear in front of the audience. (Kim Knowles)

Performer

Guy Sherwin is one of the fundamental expanded cinema authors from Europe who studied painting at Chelsea School of Art in the late 1960s and taught film printing and processing at the London Film-Makers' Co-op (now LUX) during the mid-70s. His films work with fundamental qualities of cinema such as light and time, and often use serial forms and live elements. They are exhibited in a variety of contexts: galleries, film festivals, cinemas. His recent works include installations made for exhibition spaces and performance collaborations with an artist Lynn Loo working with multiple projectors and optical sound.

Pulsos Subterráneos. Elena Pardo (Mexico), Platons Buravickis (Latvia)

3 x 16mm projector and live sound performance, 2022, 40'

An expanded cinema performance that observes and listens to visible and underground territories, both physical and intangible, in two regions of Mexico that currently experience or resist mining activities: Zacatecas and Oaxaca.

Performers

Elena Pardo (Mexico) is a visual artist and director of documentary films, experimental cinema, and animated movies. One of her lines of work is exploring the possibilities of photochemical film material— preserving and capturing images, working in a laboratory, and projecting a variety of formats. Since 2005 she has taken part in the expanded cinema collective Trinchera Ensamble. She is also co-founder and current director of Laboratorio Experimental de Cine [Experimental Film Laboratory] (LEC), an art project that surfaced in 2013.

Platons Buravickis (Latvia) is contemporary classical composer, pianist and improviser. Coming from an academic music background, his creative work is dedicated to symphonic and chamber music, also extensively exploring and working with electroacoustic music. He composes musique concrète as well as music based on sound synthesis.

Isentropic. BR Laser (Austria)

Patch improvised modular synthesizer performance, visualized by RGB diode laser, 35'

White noise is a type of acoustic signal that is characterized by having equal amount of energy across all frequencies in a specific spectrum. As such, it contains the most information about this spectrum. If you apply this character to the human hearing spectrum, it is a way of hearing all the frequencies, thus all the information at once. 

For the Isentropic laser sound performance the noise will be the basic material to form the sound sculptures that live within this noise.

Performer

Bernhard Rasinger (Austria) is an engineer, visual sound artist and cofounder of the art association NewJörg Vienna. He is a regular guest at international experimental music festivals, music fairs and soldering workshops. Performances include Ars Electonica in Linz, Superbooth in Berlin, Modular Days Barcelona, Machines in Music in New York, Gigamodular Tokyo and Skanu Mezs Riga.

Collaborations with other artists include Owen Armour, Richard Devine, Vaclav Pelousek, Anna Samsoe, Robert Henke, Anna Sircova, Hrtl, Kikkimore Collective, Denshikaimen, Lukas König, Mopcut, Phillip Haffner, Dorian Concept, Jacqnoise, Coast2c.

Smokeshow. Aurélie Percevault & Pierre Pierre Pierre (France)

16 mm projection, live sound coding, fire, smoke. Performed outdoors, 30'

A collective smoke screen session.  Is this the screen that is burning or the speakers?
A wake around the fire, a cinephile rite in which some 16mm ghosts and remnants of pop culture will emerge from the smoke.... The tangible medium revealed by the dematerialized surface.
Turning around the fire to find the right point of view, where the light lines are organized in furtive images, we observe its perpetual recombinations.
After the spark and before the ashes... The smoke.
With no goggles.

Performers

Aurélie Percevault (France) is a (hard)core member of Mire (Nantes, France) an association dedicated to experimental cinema that runs a shared film laboratory. Project coordinator, workshop facilitator, curator, sometimes filmmaker, she is part of programmation team of PRISME, festival exploring a multifaceted, inventive, engaged contemporary analog cinema and its interaction with other practices.

Pierre, Pierre, Pierre (France) is a self-taught sound artist interested in dysfunctional electronics and situations. Plays with hand-made electronics, common and cheap hi-fi devices, audio synthesis coding software.(Ex)-Member of Cable#, experimental music festival, and Mire, experimental cinema collective and organisation, in Nantes, France. PPP is now running 50hz, setting up events for experimental arts in various places.

Saturday, 20 May 16:00, Vagonu Hall

Retrospective. Lynn Loo & Guy Sherwin

In this expanded cinema night  we will meet two authors from the UK – Lynn Loo and Guy Sherwin – who will present five expanded cinema performances interacting with several film projectors, live sound, space and screen.

Lynn Loo is originally from Singapore and currently living in London. She taught music before making her first film in 1997. Her works include single-screen films, multiple projection performances and installations, using Super8, 16mm and video, and often involving a direct manipulation of film stock and printing processes.

Guy Sherwin began making films and performance pieces at the London Filmmakers Co-op in the 1970s. His Short Film Series (1975–2014) and live performance pieces such as Man with Mirror (1976–ongoing) involve human, animal, and natural phenomena transcribed as filmic subjects, or explore a variety of abstract audiovisual ideas.

Loo and Sherwin have been collaborating since 2005. In this program they will present several multi-channel live cinema performances and one single-channel work exploring the possibilities of optical sound and its connection to image. 

End Rolls. Lynn Loo 

3x 16mm projectors,  photo-resistor sound, 10'

Colour negative is exposed intermittently to various light sources: candle, stove, table lamp. The resulting film appears as a dance of colours, like the start of film before the picture appears. Additional copies form this multi-projection work. Continuing the exploration of light, sound is created using light-sensitive microphones attached to the projection lenses.

Vowels & Consonants. Lynn Loo & Guy Sherwin

4-6x 16mm projectors, optical sound, 12

From an original work 'Vowels' by Lynn Loo which was expanded to include consonants. Columns of letters printed from computer onto acetate, and reprinted in the darkroom onto 16mm film. The letters are also printed into the soundtrack area where we hear sounds, the warm sounds of ‘O', the sharper sounds of 'E '.

Railings. Guy Sherwin

1x 16mm projector (vertical frame), optical sound, 9'

One of a number of films that explore the translation of photographed images into sounds, by running them across the optical sound head of the projector.

WASHI  MM. Lynn Loo

3x 16mm projectors, optical sound, 15'

Part of a series that explore shapes, shadows, depth and rhythm through use of 

patterned Washi tape cut into the picture and soundtrack area of clear 16mm film.

Cycles #3. Guy Sherwin

2x 16mm projectors, optical sound, 8'

Hand-made film using adhesive dots and punched holes, subsequently printed. One print is projected on top of the other, but out of phase, causing unpredictable rhythms in image and sound.