Maria Magnusson: I remember my dreams...
In Person: Karissa Hahn and OJOBOCA
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Late (2014) by Matt Whitman; Super 8mm, color, silent, 3 minutes, from the maker world premiere
The origin of this film is a 30-second low-quality video, shot spontaneously on a mobile phone. When the video’s subject died suddenly a few weeks after the footage was taken, it became precious as the last moving image containing their likeness. (Matt Whitman)
Quiet Zone (2015) by Karl Lemieux and David Bryant; 35mm, color, sound, 14 minutes, from the National Film Board of Canada u.s. premiere
Electromagnetic sensitivity is a phenomenon whereby the fear of electricity and radiation takes over your life. Lemieux manages to visualize this extreme sensitivity, described in a taped interview, in an exceptional manner. He paints a crumbled, peeling reality using chemically corroded film celluloid. The electrified images make the film a hypnotic search for a radiation-free zone. (International Film Festival Rotterdam 2015)
In Nothing Flat (2013) by Karissa Hahn; digital video, color, sound, 1 minute, from the maker bay area premiere
I wanted to film you, downstairs. Though, I found it too hard—and used the roll of film up very quickly in the attic…. (Karissa Hahn)
I remember my dreams by the colour they are (2010) by Maria Magnusson; digital video, color, sound, 5 minutes, from the maker
I remember my dreams by the colour they are takes its starting point from Delia Derbyshire’s radioshow for BBC Inventions for Radio: Dreams (1964). In this program, a number of people describe how they remember their dreams in colours. Stories that are edited together into a rhythmic flow have been combined with a collage of several homemade black & white oil slide projections, and snapshots from inherited family slides from the sixties. (Maria Magnusson)
Retracing Home (2013) by Karissa Hahn; digital video, color, sound, 2 minutes, from the maker world premiere
paint—garageband—super 8 (Karissa Hahn)
Rose (2013) by Shiloh Cinquemani; 16mm, color, silent, 9 minutes, from the maker bay area premiere
Wolkenschatten (2014) by OJOBOCA; 16mm double, color, sound, 17 minutes, from the maker bay area premiere
In 1984, for three weeks in May, what appeared to be a giant cloud shrouded the small town of Hüllen-Hüllen in darkness. Before the end of the month the cloud had dispersed and life seemed to return to normal. One month later, however, the town was hastily abandoned and its residents were nowhere to be found. They left most of their belongings behind in such a way as to make one think they would return at any moment.
The search that followed led investigators to a cave on the outskirts of town. Inside the cave a number of homemade contraptions were discovered. Connected by a variety of mirrors and fitted with a wide array of lenses, they were found to form a large projection device. Even though at first sight it appeared to be either unfinished or broken, it was eventually determined to be in working order. When it was turned on it projected a series of images onto every surface of the cave. Initially the source of the images could not be established, yet upon further examination it was found that the images were engraved directly on the lenses of the machine.
Along with the machine a sheet of paper covered in handwritten text was also found. It was titled Wolkenschatten. Beyond the uncertain clues provided by the images and the text, no verifiable explanation for the disappearance of the town’s residents has ever been given. For the sake of preservation the engraved images were transferred onto 35mm slide film. Copies of the text and images were made and archived together. We have been lucky enough to obtain one of these sets. For the benefit of those interested in examining this strange occurrence, we’ve put them together as a narrated slideshow. (OJOBOCA)
Flower (2012) by Naoko Tasaka; digital video, b&w, sound, 20 minutes, from the maker bay area premiere
It’s been a long winter. …The bear woke up midnight from hunger…”
A story about a bear who ate his entire family during the winter hibernation. (Naoko Tasaka)
CROSSROADS 2015 receives generous support from: the San Francisco Arts Commission, San Francisco Hotel Tax Fund/Grants for the Arts, Fleischhacker Foundation, Zellerbach Family Foundation, The Andy Warhol Foundation for the Visual Arts and The Willow Foundation