ESFF 2015 Films

Friday, September 25th, 7pm


Sparrows and Snorkels (Von Faltbooten und Heringen) by Elena Brotschi. Narrative, Switzerland 2014. 15:06 min.
Ivan meets Paolo, little Jonas meets Ida, another Jonas meets Sandra and Annina meets Jonas – in July, at a campsite by a river.


A Portrait by Aristotelis Maragkos. Animation, Greece 2014. 2:13 min.
A drawing line explores the life and death of my Grandfather.


Zarnitsa by Khaled Kaissar. Narrative, Germany 2015. 9:00 min.
Moscow. Center of the Russian secret service. Dimitrij wanted to work in the field service for a long time. Finally he receives his orders: he is to eliminate an agent stationed in Germany, his friend Hamid.


Hubert Le Blon’s Last Flight (Hubert Le Blonen azken hegaldia) by Koldo Almandoz. Documentary, Basque 2014. 9:50 min.
The story of a pioneer of the engine who dreamed of dragonflies as a child and died living out his dream.


They Call Us The Enemy by Pim Zwier. Experimental, Netherlands 2015. 7:00 min.
Shining boots and buttons, epaulettes and stripes on shoulders and sleeves, medals pinned to the chest, a confident look in the eyes and belief in their own supremacy. The theatrical pomp and circumstance, ceremonial traditions, spotless uniforms and accompanying attributes, which the military uses to present itself, contrast sharply with the devastation and chaos it causes.


The Last Will (Erledigung einer Sache) by Dustin Loose. Narrative, Germany 2014. 20:40 min.
To fulfill the last will of his mother, the young Jakob Adler needs to meet his biological father, who is an inmate of a forensic psychiatric hospital for murdering his own brother 25 years ago.

Anomalous (Anomalo) by Aitor Gutierrez. Narrative, Spain 2014. 15:03 min.
Three elderly men have fun spying on a woman through their binoculars from the covered swimming pool in a sports centre. The glass walls of the pool are both their shield and their vantage point. But tonight Luis, Dar├¡o and Pedro will witness an occurrence that can’t be undone.


Back Track by Virgil Widrich. Experimental, Austria 2015. 7:00 min.
Back Track is a showpiece of technical brilliance involving a highly complex story woven out of images and sounds from over 25 feature films. Various found footage scenes are projected onto as many as seven movable, semi-transparent panes of glass at once, while a computer-guided camera photographs them frame by frame and translates the imagery into a three dimensional spectacle.


It Could Have Happened, It Had to Happen (Zdarzyc sie moglo, zdarzyc sie musialo) by Katarzyna Warzecha. Narrative, Poland 2014. 17:03 min.
Franek is a renowned hair stylist who returns to his hometown to attend his mother’s funeral. A Silesian belief states that whoever pulls a dead man’s finger will never fear anything, and Franek still believes it to be true. Inspired by Marcel Proust’s novel Swann’s Way.


Stella Maris by Giacomo Abbruzzese. Narrative, Italy 2014. 26:00 min.
A lost Italian village by the Mediterranean Sea. During an annual fair, the locals gather on the beach waiting for the arrival by sea of a traditional illuminated statue, the Stella Maris. The story of a light craftsman and his daughter, an one-eyed mayor, fireworks fusing like weapons and street-art as revolution.


Listen by Hamy Ramezan, Rungano Nyoni. Narrative, Denmark/Finland 2014. 12:00 min.
A foreign woman in a burqa brings her young son to a Copenhagen police station to file a complaint against her abusive husband, but the translator assigned to her seems unwilling to convey the true meaning of her words. A tense, diamond-hard film about cultural isolation and bureaucratic ignorance.


Boulevard’s End by Nora Fingerscheidt. Documentary, Germany 2014. 15:06 min.
At the end of Washington Boulevard, where Los Angeles’ streets merge into the ocean, the Venice Pier begins. The rough concrete pier braves Pacific storms and provides stillness and stability to its visitors. Here, we meet two immigrants who take us on their journey through history.


Zepo by César Díaz Meléndez. Animation, Spain 2014. 3:00 min.
On a winter morning a long time ago, a little girl went out looking for firewood. She went away from home and came across a blood trail… she followed it.
Saturday, September 26th, 7pm


A Place I’ve Never Been by Adrian Flury. Experimental, Switzerland 2014. 4:40 min.
By sourcing multiple digital images of the same place from different archives, this experiment in film makes use of frame by frame montage to discover hidden forms, patterns and references thereby giving new meaning to the prevailing redundancy of the pictures.


Elephant by Mona Kakanj. Experimental, Germany 2014. 4:38 min.
“Elephant” is a film questioning one’s perception of existence. There is very limited visual information from three diverse scenes. Through increasingly exposed flashes of light, actions are revealed. Elephant conveys the inexpressible nature of an action in a situation where there is a deficit of information.


Don’t Listen to the Water (Lausche nicht dem Wasser) by Jonas Hartung. Experimental, Germany 2014. 21:51 min.
“Boy” finds himself in an absurd situation. He wakes up on a little island in the middle of an open-air swimming pool, unable to remember anything. A strange sailor is his only companion. And although the edge of the pool is just a few meters away, it seems out of reach: a shark is patrolling the water.


Imaginary City by Julia Weißenberg. Experimental, Germany 2015. 12:47 min.
The film documents the time-consuming creation of a sand mandala which took four days, abbreviated to 12 minutes. The single motifs that make up the mandala were taken from 3D visualizations of architectural designs. After the completion of the image, the sand is swept back together.


3/105 by Avelina Prat. Experimental, Spain 2014. 5:36 min.
One river. One death.


Listen, Try not To Dwell On That Idea, Please… by Benjamin Ramírez Pérez. Experimental, Serbia 2014. 6:00 min.
Two performers, taking on various roles, reenact specific gestures and details from Michelangelo Antonioni’s L’Avventura. A sort of visual echo of Antonioni’s film unfolds, touching on the construction of desire, gender and self. Moments from the original film spill into each other, like the workings of a restless mind circling around memories and searching for meaning and patterns.


You Were Not There (N-ai fost acolo) by Agath Ioana Paltinel. Narrative, Romania 2014. 15:00 min.
Costache Ionescu receives an unexpected visit that brings him face to face with his past ‘ a dark reflection that will shake his relationship with his son.


Video_65 by Experimental, Austria 2014. 5:00 min.
The use of color is abandoned entirely. White gossamer lines dance in front of a medium gray background, in synch with the spherical electronic sounds of contemporary American composer Chris Arrell. Sometimes during the digital ballet, these fine lines coalesce into coiling, luminous tubes. White graphic lines become discreetly contrasted and superimposed with black graphic lines.




Requiem for a Shipwreck by Janis Rafa. Experimental, Netherlands 2014. 11:00 min.
A requiem is performed in honor of a tragic event on the Greek coast. The shipwreck is not a relic of a fatal incident but a forgotten ruin in the landscape. It stands as a monument to tragedy, and a symbol of the many levels and depths of movement in the Mediterranean waters. Death is represented in the work as a result of a greater tragedy – cultural, historic, environmental or geo-political – which stays ambiguous and open for interpretation.


Roadtrip by Xaver Xylophon. Animation, Germany 2014. 22:03 min.
Julius can’t sleep. To get his head empty he decides to go on a roadtrip, but somehow he can’t manage to leave. A hand drawn film about failure, insomnia, a red motorbike, pretty bar girls, the desolateness of Berlin (even in summer) and waterproof socks.


Stick It by Stefan Ramirez Perez. Experimental, Germany 2014. 4:39 min.
This single channel video combines television footage of women’s gymnastics with recordings of the artist attempting the same routines. Merging himself and the young gymnasts of the 1996 Olympics in Atlanta into one composite character, he enters an ambivalent position between envy, identification, rejection and critique of these highly controlled bodies and their restricted performative roles.


The Events at Mr. Yamamoto’s Alpine Residence (The Events at Mr. Yamamoto’s Alpine Residence) by Tilman Singer. Narrative, Germany 2014. 9:32 min.
While killing time at her acquaintance’s vacation house, a young woman receives a mysterious package lacking sender and recipient. After injuring herself in a solitary tennis match, she unwraps the little cube and triggers a trap mechanism that eventually overpowers and abducts her. She enters a retro-futuristic command center where the operators seem to be expecting somebody else.


The Queen and Veils (Die Königin und Schatten) by Nat Tafelmacher-Magnat. Narrative, Germany 2015. 20:00 min.
Diana, the stern and passionate Film Director, in her eyes also the Huntress, the Queen, sees her supremacy over her beloved film challenged by Aim├⌐e, the frighteningly efficient and down-to-earth assistant director, triggering Diana’s anxious and intruding imagination to paint the situation like a wild battle to be won or lost. An intimate journey into Diana’s mind, leading us to the edge of sanity.


Trafo by Paul Horn. Experimental, Austria 2014. 12:00 min.
The face is a portrait of the soul” in the words of Cicero, calling to mind the old ideal of making humankind’s glimmer of the divine, its dignity and greatness, visible in portraits. Horn’s pictures of faces are, however, far from being portraits. Dignity is no longer a factor. The protagonists’ visages transform, turn increasingly into projection screens, sculptures. Rather than becoming simply caricatures of themselves, the human turns into an object. The more dangerous and extreme the treatment they undergo, the more the individual is diminished. The face becomes an allegory for existence.


Palatka (палатка) by Clara Wieck. Experimental, Germany 2015. 7:57 min.
Observations between summer and war, the Ukraine and the Crimea. A fairy tale without a fairy. Palatka tells the story of Andrej, a war resister with the ability to turn into a tree. “He told us that he just came from Donesk. That he was forced into military service but that his family somehow were able to ransom him. They were able to save his life – which in the summer of 2014 had a cash value of $3000. Now he was about to live on a table mountain at the Crimea. And there we met through coincidence.”