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01–04 April 2020 Filmfestival für Experimentelles und Komisches 01–04 April 2020 Innsbruck/Austria Abgedrehtes Kino trifft auf schrägen Humor Surreale Bildwelten, komisch-absurde Geschichten – als einzigar- tiges Filmfestival für Experimentelles und Komisches serviert die DIAMETRALE bereits zum vierten Mal abseitige Leinwandschman- kerln und ist damit ein Festival für all jene, die sich gern überraschen lassen. Das Spielen, Unterlaufen oder Brechen von künstlerischen Konventionen und der Alltagslogik führt zur Reflexion über Beste- hendes – sei es im Bereich des Ästhetischen, des Zwischenmensch- lichen oder des Gesellschaftspolitischen – und ist somit latent wi- derständig. Also ergreift die Wahlwunderwaffen Experiment und Humor für Eure Denkraumrückeroberungsmissionen und feiert mit uns das Absurde, denn „die Absurdität ist der einzig mögliche Weg.“ (TB) Eine gute Reise wünschen DIAMETRALE Verein zur Förderung experimenteller und komischer FilmKunst Kulturkollektiv ContrApunkt Verein zur Förderung von Gegenrealitäten 3 Informationen Festivalpass EUR 30,00 Tickets Gültig für alle Veranstaltungen von 01. bis 04. Einzeltickets Kino 9,50 EUR April 2020. Der Festivalpass ist ab Mitte März ermäßigt 7,90 EUR*) im Leokino/Cinematograph erhältlich. *) Studierende und alle unter 25. Achtung: Festivalpass nur gültig in Verbindung mit einem Einlassticket vom Leokino/Cine- Fr 03.04. p.m.k only (AK) 5,00 EUR matograph. Reservierung empfohlen. Sa 04.04. p.m.k only (AK) 10,00 EUR Rahmenveranstaltungen in der p.m.k, Theater Do 02.04. Vortrag (S.11) frei praesent und DieBaeckerei sind mit dem Fr 03.04. VR-Filme (S.15–16) frei Festivalpass frei zugänglich. Sa 04.04. VR-Conference (S.24) frei Der Festivalpass gilt von Festivalpass und Einzeltickets sind ab 01. bis 04. April 2020 auch sofort im Leokino und Cinematograph als IVB-Ticket (Innsbruck erhältlich. Kernzone). Es gelten die allgemeinen Beförderungsbedingungen und Tarifbestimmungen der Innsbrucker Verkehrsbetriebe und Stubaitalbahn GmbH. Reservierung Leokino/Cinematograph Tel. +43 512 560470/-50 oder ein Venues in Innsbruck charmentes Mail an [email protected] Leokino Anichstr. 36 Karten müssen 15 Minuten vor den Screenings abgeholt werden. Cinematograph Museumstr. 31 p.m.k Ingenieur-Etzel-Str. 18-20 Theater praesent Jahnstr. 25 DieBaeckerei Dreiheiligenstraße 21a Die 4. Ausgabe der DIAMETRALE wird veran- staltet von DIAMETRALE – Verein zur Förderung experi- Legende menteller und komischer FilmKunst ZVR 1364399574 (e)OF Kulturkollektiv ContrApunkt – Verein zur (englische) Originalfassung Förderung von Gegenrealitäten english original version ZVR 963455227 (d)OF+eUT diametrale.at // contrapunkt.net (deutsche) Originalfassung mit englische facebook.com/diametrale Untertieln (german) original version w. englisch subtitles facebook.com/contrapunkt.kulturkollektiv OF+dUT instagram.com/diametrale_festival Originalfassung mit deutschen Untertieln instagram.com/kulturkollektiv_contrapunkt original version w. german subtitles bit.ly/youtube-diametrale ND kein Dialog no dialogue VR 360° Virtual Reality 360° 4 So 08.03. | 20:30 | Leokino2 Double Feature am Internationalen Frauentag kinovi[sie]on in Kooperation mit DIAMETRALE The Touch Retouched Normal Marie Losier Adele Tulli US 2002 · 5‘ · DCP · eOF · TIrolpremiere IT/SE 2019 · 70‘ · DCP · OF+eUT · TIrolpremiere Marie Losier verkörpert Elliot Goulds Stimme Kleine Mädchen als Prinzessinnen, Buben beim in Ingmar Bergmanns The Touch – eine queere Motorradrennen, kreischende Teeniemädchen Aneignung männlich dominierter Filmge- und Jungs beim Ego-Shooter-Spielen – woran schichte und ein subversiver Streich gegen das wir gewöhnt sind, erscheint in Tullis zweiter Diktat der Heteronormativität. (kinovi[sie]on) Langdoku plötzlich nicht mehr so normal. Der Film beobachtet ganz unaufgeregt und ohne “Do you have any photos of your wife in the jeglichen Kommentar alltägliche Szenen, Rituale nude? – Oh, I’m sorry, David to disappoint und Situationen. Spannend ist, dass sie dadurch you. You will have to content yourself with my das scheinbare Normale entblößt und als orchid.” oftmals absurde Unterwerfung unter Stereotype In 1971, Ingmar Bergman made his only und Heteronormativität entlarvt. American film The Touch, starring ensemble NORMAL is an unsettling visual journey regulars Max Von Syndow and Bibi Anderson, through gender norms in contemporary society. along with early 70s everyman Elliott Gould. In Immersed in a kaleidoscopic mosaic of visually 2001, Marie Losier decided to recast herself in powerful scenes, viewers experience the ritua- Gould’s role, breathing new life into Bergman’s lised performance of femininity and masculinity most awkward, ill-conceived and dubious lmic hidden in ordinary interactions, from birth to endeavor. (Collectif Jeune Cinéma) adulthood. (slingshotfilms.it) Biography Adele Tulli (*1982 in Italy) graduated in Screen Documentary at Biography Goldsmiths University in 2013. Today she works as a documentary Marie Losier (*1972 in France) is a filmmaker and curator who‘s filmmaker, and film curator/programmer/lecturer. She has directed worked in New York City for 20 years. She has shown her films and award-winning films such as 365 without 377´ and Rebel videos at museums, galleries, biennials and festivals. She studied Menopause. literature at the University of Nanterre (France) and Fine Arts at Cinematography Clarissa Cappellani, Francesca Zonars Hunter College in New York City. Edit Ilaria Fraioli, Elisa Cantelli, Adele Tulli Sound Davide Pesola Cast Marie Losier, Bibi Andersson, Max, Sydow Producer Valeria Adilardi, Luca Ricciardi, Laura Romano 5 Kinostart am 20.3. Om det oändliga Über die Unendlichkeit Fr 20.03. | 21:00 | Cinematograph Roy Andersson Einführung: Judith Salner, Marco F. Trenkwalder SE/DE/NO 2019 · 76‘ · DCP · OF+dUT So bleich die Gesichter sind, so dunkel ist der After every new Roy Andersson, we look Humor: Einmal mehr reiht Andersson Vignetten forward to the next – and so far we haven‘t aneinander, die mal banales Alltagsleben, mal been disappointed. The distinctive style that bedrückende Albträume und zwischendurch makes every image created by this Swedish historische Szenen abbilden. Ein Mann hat einen master stand out among thousands was created Schulfreund auf der Straße getroffen und ist somewhere during the more than two decades gekränkt darüber, dass jener grußlos vorüber- between the financial flop of his second feature lief; ein Priester hat den Glauben verloren und film Giliap (1975) and the artistic triumph träumt von der eigenen Kreuzigung; Soldaten of his third, Songs from the Second Floor sind auf dem Weg in ein Gefangenenlager. Die (2000). Melancholy, empathetic vignettes that lebenden Tableaus von Om Det Oändliga legen present the comic absurdity and fragility of es nicht auf Pointen an, ihr Humor speist sich hankering mankind and his corporeal existence aus der tieferen Einsicht in die existenzielle in painterly, dimly lit, frequently spectacular Absurdität menschlichen Strebens. (Barbara studio settings with obsessive precision and Schweizerhof, Viennale) framing. „Der Alltag in seiner ganzen Absurdität: Wie The with good reason existentially titled About gewohnt schaut Roy Andersson mit kühlem Endlessness follows this familiar procedure. Blick hinter die Kulissen des Gewöhnlichen und Like a Scheherazade, we hear a voice-over entdeckt dabei allerhand Komisches, Widersin- telling us what she is seeing: a priest who has niges und Abgründiges.“ (DIAMETRALE) lost his faith; a rain-drenched father tying his daughter‘s shoelaces; a defeated army slogging through the cold. (Internationales Filmfestival Rotterdam) Biography Roy Andersson (*1943 in Gothenburg) is a Swedish film director, best known for A Swedish Love Story (1970) and his „Living trilogy,“ which includes Songs from the Second Floor (2000), You, the Living (2007) and A Pigeon Sat on a Branch Reflecting on Existence (2014). He is known for his personal style – which is characterized by long takes, absurdist comedy, stiff caricaturing of Swedish culture and Felliniesque grotesque. He has spent much of his professional life working on advertisement spots, directing over 400 commercials and two short films, but only directing six feature-length films in six decades. Director, Writer Roy Andersson Cinematography Gergely Pálos Cast Lesley Leichtweis Bernardi, Ania Nova, Gloria Ormandlaky Producers Pernilla Sandström 6 Concerning Violence Sa 21.03. | 21:00 | Cinematograph Göran Hugo Olsson Internationaler Tag gegen Rassismus SE/US/DK/FI 2014 · 85‘ · DCP · OF+eUT Gemeinsam mit der Initiative D)ort zeigen wir From the director of The Black Power Mixtape zum Internationalen Tag gegen Rassismus am 1967-1975 (2011) comes a bold and fresh visual 21.3.2020 den Film Concerning Violence – Nine narrative on Africa, based on newly discovered Scenes from the Anti-Imperialistic Self-Defense archive material covering the struggle for aus dem Jahr 2014 von Göran Hugo Olsson. Der liberation from colonial rule in the late ‘60s and Film beschäftigt sich mit Rassismus und zeigt ‘70s, accompanied by text from Frantz Fanon’s wie unsere Gesellschaft heute noch von Koloni- The Wretched of the Earth. alismus und Rassismus geprägt ist. Concerning Violence is both an archive- driven documentary covering the most daring moments in the struggle for liberation in the Third World, as well as an exploration into the mechanisms of decolonization through text from Frantz Fanon’s The Wretched of the Earth. Fanon’s landmark book, written over 50 years ago, is still a major tool for understanding
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