Natacha Nisic's "Catalogue de gestes" was one of many rotating pieces that was shown between May 27 2009 and February 21 2011 when "the Centre Pompidou's collections [were] entirely given over to women artists from the 20th century to the present day."
An interview with Jane and Louise Wilson, shot in their London studio, about their Cinema Extreme film Songs for My Mother which was inspired by their research into The Stanley Kubrick Archives - animateprojects.org/films/by_project/kubrick/kubrick
A man returns, after fifty years, to Chinatown to care for his dying mother. He is a librarian, a cataloguer and recorder, a gay man, a watcher, an impersonator. He passes his time collecting images - his witnesses and collaborators. Sitting in the dark, we look at them and share his cloak of invisibility, both a benefit and a curse.
TOUCH is an essay narrated from one man's point of view. But it is also fiction, for this man is a made-up person, an amalgam of research, interviews, off-the-record comments, secrets, improbabilities, and free-floating desires. This man, who never tells us his name, returns as both insider and outsider to a neighborhood from which he escaped, as a teenager, as fast as he could. Silver: 'I want to focus on the act - particular, yet open-ended - that entrances my protagonist: an act that we, the audience, share with him.
a film by
Eric Offin, Perry Levy
The National Archive
The Museum of Chinese in America
Rotterdam International Film Festival - Spectrum (World Premiere)
Cinema du Reel (French Premiere)
Prix Patrimoine de l'immatériel/The Intangible Heritage Award
by the Ministry of Culture and Communication/Cinéma du Réel
'The world will devour you....'
A group of cops laugh and talk, while scanning the street for suspicious activity. An extreme close-up of a sensuously exposed neck; a soft pink fleshy ear turns to reveal an inquisitive hostile eye....
1 is a short tape about longing, threat, power and seduction, with the camera functioning in turn, as aggressor, mediator and confessor. The split-screen image as well as the eerie sound track, made up of two versions of the same Miles Davis song run simultaneously, underline Silver's ambivalent take on the controversial subject matter, as well as calling the work's title into question. (EAI)