Richard Dinter Snö (Snow) (Sweden)
Some images are abstract fields of grey and white with a few shimmering bright points, others
more clearly a dense sheet of snow falling on a country road, often shot from a vehicle moving
through the storm, with a deep unrooted melancholy in the specificity of the images, and a calm,
simply told recollection of the journey through the moribund landscape. A sense of the inevitable
is slowly revealed in the hardly stated, yet irrevocable fact of the situation the filmmaker is
Christoph Girardet Synthesis (Germany)
Peter Bennett with his comforting British actor voice reads the opening of the St. James Genesis as
if it were a Shakespearean text, extracting from it both personal significance and a description of
the origin of the world that sounds simultaneously fictional and scientific. The reading informs a
series of exquisite images, pulled from advertising, educational and corporate films, in two
adjacent windows on screen, resonating ambigously both with each other and with the spoken
text. A highly pleasurable experience, operating on a deep emotional level.
Deimantas Narkevičius 20.July 2015 (Lithuania)
The simple dismantling of a statue that celebrated the cult of the worker, a communist era statue
on a bridge, removed piece by piece by a group of workers, their dignity and labor no longer a
cause of celebration but only another task, a task clumsily performed. Presented in glorious 3D,
with glasses, a visual synecdoche both ridiculous and slightly tragic.
Clemens von Wedemeyer Die Pferde des Rittmeisters Harald VietinghoffRiesch, 1939-41
The images are taken from a cache of footage the filmmaker took from his grandfather’s estate,
images of horses used by Hitler’s army during the early war years. The shooting is great, beautiful
framing, emphasizing the dignity of the horses, deliberate camera moves, unexpected moments
revealed. These extraordinary images are accompanied by the filmmaker’s commentary, a film
scholar’s analysis of the Nazi ideology underlying the content but also both the cinematic
techniques and cinematographer’s decisions in the details of what we see on screen: no horrific
images, yet a brutality and worldview that is equally disturbing.
Sonja Wyss She / Her (Netherlands)
Starting with a painfully familiar dialogue scene between a mother and her adult daughter in a restaurant,
driven by the standard critiques by from the mother and the expected silences from the daughter. Then,
alone in the rest room, the daughter’s gestures of frustration become something odder, something twitchy
and controlled, almost dancelike, and yes, on return to the table, the dialogue is transformed into a fullout
dance scene, like a musical, the entire clientele of the restaurant participating. The merging of the two
formats is unexpected, thrilling, chilling. And, like most works in the festival, She/Her is
characterized by fine cinematography, elegant editing, and refined performances.
Nina Yuen Narcissus (USA)
The filmmaker plays Narcissus, but her love of her own image is tainted,
sullied by a pronounced self disgust.Though the viewer feels uneasy by the Yuen’s display of the body
she’d like to fall in love with but cannot, the very existence of the moving image work suggests a
more fundamental and playful relationship between herself and her image.
The film describes five different relationships with the self: the never-changing watcher
of the watcher; the intertwined, codependent relationship; the self-critical internal bully; the obsessive
self-lover; and the self without awareness of itself. Narcissus drowns when he tries to embrace his
reflection, but for Nina the lake is not where the danger lies.