TO RUST is a collection of short films about experimentalism, but a secondary theme could be ‘the hypnotic’. RUSKIN’S POND by John Woodman is a film of the reflections on the pond at Brantwood, John Ruskin’s home. It is abstract and relaxing, although better suited to being shown in an art gallery than on the cinema screen. LEMONS AND TACKS by Trisha McRae was a visually pleasing stream of consciousness through life from childhood onwards, with an exceptionally complementary soundtrack. The film is presented as if through an aperture in the centre of the screen with a black surround, which distracted from the content.
… an interesting insight into cultural responses to erratic behaviour – his grandfather […] prays over him to rid him of the evil eye …
Sebahat Ersoy’s DIP: THE FAR END is about a young boy called Mehmet, and his family who are beginning to notice his disturbed behaviour. It gives an interesting insight into cultural responses to erratic behaviour – his grandfather, for instance, prays over him to rid him of the evil eye. Neil Boynton’s AU FIL DU TEMPS was ten time-lapse sequences over one season in a ski resort. Like RUSKIN’S POND it is very peaceful to watch, and the haunting percussive soundtrack is well matched with the beautiful footage. Time lapse is also used to excellent effect in THE VOICE OF GOD by Bernd Luetzeler, a docudrama set in Mumbai. Not having a translation of the voiceover is ingenious, as the English-speaking viewer concentrates more on the hypnotic rhythm of the language.
Nick Moore’s SMOKE AND MIRRORS (RAUCH UND SPIEGEL) is a film of a trapeze routine, but fractured as though seen through a kaleidoscope. It is mesmerising, something beautiful and graceful made grotesque. The story of a demon in the desert, APSIS by Max Weinman, had a strangeness which was exacerbated by the soundtrack. Jarring and unsettling, even scary, that APSIS provokes such a strong emotive response is testament to the film’s quality. THE FUNERAL, Director Jun-Woo Lee’s theatrical film about a family following a grandfather’s death, is a celebration of life which wryly recognises the universal responses to death, while showing changing Korean customs.