Starting from Scratch Introduction Introduction

1 2 contents 3 Starting From Scratch Introduction Introduction...... 3,4 The (Lab) Collectives...... 5 Lafoxe...... 6 Starting from Scratch has been the place where lovers Metamkine...... 7 and makers of ‘old-fashioned celluloid’ have been able to The Wooden Lightbox...... 8 meet for several years now. The umbrella festival theme Fellini G. Mastorna...... 9 Free Radicals, with its focus on independent lab collec- De Un Vastisimo Mar...... 10 tives, may be applicable more than ever in this edition. Le Point Aveugle...... 11

Super 8 Game Arcade...... 12 In many places in the world, people work with film as if Okuyama Jun’ichi - film 16mm is Regular8 Japanese 8mm kicks ass.....13,14,15 there has never been a digital revolution. Countless dedi- Destra O Sinistra...... 16 cated film makers consciously choose the ‘old-fashioned’ Paradiso Stills - Stil Levens...... 17 medium, just because film turns out to be the best way to Ways To Walk...... 18,19 express their ideas. In this case, focus, grain, contrast or Let’s Make A Film...... 20,21 colour are not only technical building blocks of the final From Niagara To Japan...... 22,23 image, but also elements with which you can manipulate The Filmfarm Touch...... 24,25 an experiment to your heart’s content – important is- of colours can reflect just as many moods. And that is Sfs Artists In Residence...... 26 sues if you want to construct a world entirely of your one of the beautiful things about working with film ma- Cucinema Di Genzano...... 27 own with your films that do not have to obey the normal terial: If you are not afraid of getting your hands dirty Sfs Portraits Project...... 28 laws of film and in which the imagination plays a promi- with chemicals, there is so much more in the image than Sfs Workshop by Metamkine...... 28 nent part. can be seen at first sight. According to this philosophy, Scratching From Start Party.....29 Maybe comparisons with a cloudy sky could be applica- the film lab is the place where film is really created. Af- Schedule...... 30 ble, in which many figures are recognisable for those ter many preparations, film acquires its final form in the Colophon & Adresses...... 31 who want to see them and of which the infinite number dark, under the hands of the film maker himself. Le point aveugle - Burstscratch 4 5 The lab collectives

Many unique film makers like this have united in col- For this edition three special projects were initiated of The (lab) collectives lectives who share cameras, optical printers and their which the results can be seen during the festival: the include: own developing equipment – and the knowledge needed Starting from Scratch artist in residence programme, to use them. a 16mm live performance workshop (by the influential Atelier MTK – Grenoble France In Rotterdam, the WORM.filmwerkplaats is a case in Metamkine) and a collective film project entitled Por- Ad Libitum – Cras France point. After two years of successful cooperation on the traits Project that will put in an appearance at unexpect- LABO – Brussels Belgium Starting from Scratch workshop, this year we joined ed places. On top of that Starting from Scratch presents Sector 16 – Hannover Germany forces and made a programme in which several of these many screenings, live performances, lab activities and No.w.here – London UK collectives and free radicals will present their work to a Super 8 event (Super-8 Wednesday) plus the installa- L’Abominable – Paris France audiences. WORM will be the meeting and screening tions of Mobileskino and the Cucinema happening. Don’t Burstscratch – Strasbourg France venue for Starting from Scratch (alongside Lantaren/ forget to join the SFS dinners (Tuesday 29nd Jan. till Atelier Libusin – Libusin Czech Republic Venster) and will therefore also be a fully-fledged fes- Friday 1st Feb. at 18.00 5 euro) and meet Starting from Niagara Customs Lab – Toronto Canada tival venue for the first time. WORM will also serve suit- Scratch filmmakers in the creative habitat of WORM. Filmfarm – Mount Forest Canada able daily dinners and afterparties. Enjoy the festival, Space Cell – Seoul South Korea Erwin van ‘t Hart LIC / MVD – Montevideo Uruguay Cucinema di Genzano – Rome Italy Mobileskino – Basel Switzerland

Cellule d’Intervention 6 Lafoxe 7 Etienne Caire & Gaëlle Rouard Metamkine

The do-it-yourself film lab Atelier MTK The influential collective Metam- in Grenoble, France is the cradle of the kine was founded in 1987 and performance group Metamkine, but also come from Grenoble, France. for instance of Lafoxe. Etienne Caire and Using mirrors, music and several Gaëlle Rouard are the driving forces be- projectors, they manage to put hind the lab and have developed a 16mm together a unique live perform- performance with its very own signa- ance each time, in which the ture. The basic material for Lafoxe came sound enters into a confrontation from old Hollywood films. After extensive with the image, without being processing in the lab, these bits and pieces subservient to it. Manipulating are put on the silver screen again using the Revox tape recorders and several film projectors at once. The result analogue synthesisers is Jerome is a dynamic form of widescreen, which Noetinger, who manages to improvise an exciting electroacous- they have dubbed hyperscope. The sound tic sound landscape. Christophe Auger and Xavier Querel are is a live mix of the original optical sound- responsible for the image and manipulate the 16mm projectors tracks. using filters and visual tricks. This leads to a stimulating form of live improvised cinema. The presenters are not hidden, but take a prominent place in the project, like musical instruments, and the SFS Live Projections film collective is the band. Lafoxe & Metamkine Saturday 26th January 21.45 Lantaren/Venster 8 The Wooden Lightbox- 9 Fellini G. Mastorna A secret art of seeing, Alex MacKenzie Olivier Dutel

Alex MacKenzie perfected the art of film projection. Exuberant double-screen 16mm film, in which very var- At the core of this approach is the use of a homebuilt ied elements of the Fellini-esque universe are forged hand-cranked projector in an expanded cinema format into a whirling and variegated whole. A virtual copro- to present a striking array of handmade and processed duction between the Gran Lux Collective (St. Etienne) emulsion. Presented here is the first of an extended and Cinecitta made with countless processed and re-ed- cycle of films that use the early development of cinema ited film scenes, some well-known others less so, juxta- as a marker for cultural, technological and economic posed with shots made by the makers in their own studio. change. Hypnosis, panorama, motion studies, expecta- St. Etienne, Rome and America are rolled into one while tion, magic, the dream world and sleight of eye conspire Fellini, Mastroianni, Welles and Rossellini look on. in this intimate and immersive framework. Film speed is varied manually by cranking more quickly or more Fellini G. Mastorna, Olivier Dutel, 2007, 33 min slowly, while direction of the action is controlled by winding forward and backward. Colour gels are used to tone the black and white images while lens and hand interference are used to distort or partially obscure the image. MacKenzie is throwing us back to a time when audience expectation was open. We recommend seating yourself where you can keep an eye on both screen and SFS Live Projections projector. Wooden Lightbox & Fellini G Mastorna Sunday 27th January 16.30 L/V & Tuesday 29th January 20.00 WORM 10 De un Vastisimo Mar 11 Le Point Aveugle Stefano Canapa, Yoana Urrozola, Josefina Rodriguez, Julien Tarride Collectif Burstscratch

De un Vastisimo Mar is the result of a first working finding a structure, possibly even the contingency of visit during two months, which took place in Montevideo a failure. The purpose is also to show what is missing, With Le Point Aveugle we propose a session (Uruguay) and in the area of Rio de la Plata. During a hole, a loss of live cinema, visual and sound perform- this period the film and sound mate- ance using several projectors 16mm. The rial was recorded, and at the same original images are manipulated and mod- time a small 16mm laboratory was ified by various means: variations of focal, established. LIC/MVD (Laboratorio superimposing, rehearsals of sequences, de Investigacion Cinematografica/ partial maskings, additions of colored fil- Montevideo) is the first lab of its ters or transparent objects... Conceived as kind in the region. a dialogue between several film-makers, What is shown here is a film in this performance considers the film im- the making, in the real time of a age as material and light, as a spouting out performance, about exile as a re- visual stream of the darkness, destroyed lationship. This exile is a way to and reconstructed permanently. By aban- fill space, a way to lie or to search doning the story to redefine us on the nature of the film a truth. The performance has the medium, we try to create something of the order of a construction of a story as well contemplative journey, leaving to every spectator the as its doubts and the difficulty of care of leading its own investigation. (Burstscratch) SFS Live Projections De un Vastisimo Mar & Le Point Aveugle Thursday 31st January 20.00 WORM 12 Super 8 Game Arcade 13 Japanese 8mm kicks ass beautiful Mobileskino collective Curated by Ken Okubo

Playful interactive Super 8 machines made with 8mm- 8mm is very important for film culture in Japan. Along The Shepherd Boy’s Coronation filmloops, slide projectors, cardboard and custom-build with Super 8 from Kodak, Japanese original format Sin- (Bokudou no Taikansiki), 2003, 3 min. electronics. gle 8 from Fuji film Co. has been used by many filmma- The Garden just before Dawn kers and directors. Fuji has announced to discontinue (Kawatare no Niwa), 2003, 3 min. The Super 8 Game Arcade consists of three old fash- producing 8mm film stock and is now selling from the Mr.O’s Dream (O shi no Yume), 2004, 3 min. ioned shaped gaming machines in original size, which freezer for 3 to 5 years. This program is a reflection of reproduces interactive game surfaces known from the the activities with the Single 8 and a plea for continuing There is Tomorrow (Ashita Ga Arusa), Toshiyuki Maeda, digital world with the help of solely analogue and/or me- the production of this unique format. 1994, 3 min. Recording memories of houses for ordinary chanical projectors and electronics. people as scenes of post war Japan, Composition of im- Masaharu Oki: Ekuotosazu in seven parts ‘Ekuotosazu’ is ages of destruction using stills and films with multiple Racer: The machine depicts a moving street environ- is a collaboration of artists, animation-filmmakers, film- the name of the ceremony aimed at deterring evil spir- exposures. ment through which the player must safely drive with technicians and sound designers. Their projects are lo- its. Each part of the film series is a small 50-feet journey a car. Pixelblaster: Hero of the Game is a little robot who cated in the space between digital- and analogue media, looking at the world through a small window. Sometimes To the Suburbs (Kougai e), Toshiyuki Maeda, 2001, 3 has to escape bullets that are falling down. High Noon: professional and trash whereas institutionalized and holding my breath and watching the light and shadow, min. Composition of images and sounds of the destruc- Mobilephone Cinematica - the home cinema format independent art. and sometimes looking at the sky calmly sitting on the tion of huge housing projects using multiple exposures Super8 combined with new technologies. Mobileskino edge of perforation. and field recordings. plays the decisive shooting scene of the classic film High Lair of Light (Hikari no Sumika), 2002, 3 min. Noon, combined with mobile phone antennas. OPENING ON SUPER 8 WEDNESDAY Yacht Dance, 2002, 3 min. Tokyo/8mm/Still/Camera (Tokyo 8miri Shashin Ki ), Wednesday 30th January 19.30-0.00 WORM From the Ionosphere (Denri-so Kara), 2003, 3 min. Toshiyuki Maeda, 2007, 3 min. Shooting Tokyo with an Mobileskino is formed in 2000 in Basel, Switserland and Thursday 31st January 12.00-18.00 WORM Dragonfly Glasses (Kagerou Kagami), 2003, 3 min. 8mm film camera as if it were a photo camera at places 14 Japanese 8mm kicks ass beautiful continued

I’m interested in, like Shinjuku, Roppongi, Shinbashi, Suginami-green, Hajime Kawaguchi, 2007, 3 min. Dance The Arietta of a Child (Kodomo no Arietta), Kaoru around Tokyo Bay and Tokyo station. of light on a stream and green through bulb shutter and Katayama, 1998/2007, 3 min. Document of a nursery long time exposure. school for children of different ages which was in trou- Eyelids (world/6) (Sekai/6/eyelids), Hajime Kawaguchi, ble because of subsidy cut from city. 2001, 3 min. Opening the eyelid, is it the camera or is it the Hakushu 18 Aug. 2007 (Omoide no Hakushu), Hajime Ka- object that is seeing the camera? Showing ‘your’ glance waguchi, 2007, 3 min. By using 8mm, I want to express Akira Mizuyoshi: Syunsoku series and nobody else’s, created by multiple exposure. my emotions by showing crystallization through a mix of Syunsoku 1, 1997, 3 min. lights, glances, winds, sweet odours, scenes and myself. Syunsoku 4, 2001, 3 min. Syunsoku 5, 2003, 3 min. Print8, Masaru Noto, 2003, 3 min. One of my photogram Syunsoku 8, 2005, 3 min. works, getting images directly on film without using a Syunsoku 9, 2007, 3 min. lens. The object is an ant I found. I loved its appearance. ‘Syunsoku’ is the landscape seen in a blink. The camera shutter and projector are blinks or breaths. The Single From the Train Window (Shaso Yori), Masaru Ohashi, 8 format enables me to rewind the film in the camera 1998, 3 min. Repetition of steel of railway bridge is com- and is indispensable for using multiple exposure in this posed with noises from self developing process. series.

A portrait near the window (Madobe no Hito), Masaru JAPANESE 8MM KICKS ASS BEAUTIFUL Ohashi, 2007, 3 min. You see me watching through window Super 8 Wednesday 30th January 20.00 WORM in composition with self developing and normal developing. Post SfS Saturday 2nd February 17.15 L/V Syunsoku 1 Syunsoku 16 Destra o Sinistra 17 Paradiso Stills – Stil levens LABO collective Jaap Pieters - Hilary Jeffery

Super 8 and 16mm multi-projection per- The first punk wave in the rock temple Paradiso from formance by LABO (Jen Debauche & Se- 1980 on was recorded by the photographer Max Natk- bastien Koeppel & Kika) with live guitar iel in his book Paradiso Stills. Some of the punks photo- improv by Prairie. graphed were anonymous friends of Natkiel. In recent The performance is a collective re-inter- years, Jaap Pieters tracked down 75 of those portrayed pretation and re-appropriation (through and filmed them as they gaze motionless into the cam- new and re-filming, chemical manipula- era. His film is like a photo book that you can’t leaf tions, contact printing) of two short films through, but that has an unrelenting rhythm of three Destra o Sinistra I & II (by Kika and Prai- minutes and 20 seconds, the length of a Super8 roll of rie - sept.2007). In these films a wander film, followed by the photo from the book taken more around an imaginary city - Brussels – ap- than 20 years ago. pears through multi-layered films origi- Pieters’ film is projected as a 3-screen Super8 perform- nally shot on Super 8 and inspired by Italo ance with a new story playing in the head of the viewer Calvino’s: “An invisible landscape is the con- each time. With live music by Hilary Jeffery and his oc- dition of the visible landscape” (in Le Città casional band Lysn. Invisibili). LABO and prairie revisit it as a dronepunk melodious wandering between drowned skylines, calm transparent vol- SFS Live Projections canic shadows and moving landscapes. Destra o Sinistra & Paradiso Stills Super 8 Wednesday 30th January 22.00 WORM Faux Movements 18 the gaps, creating the illusion of smooth movement. tempt is made to deny either Ways to walk the subjectivity of film or its Free films made in the labs of L’Abominable, All that rises, Daichi Saito, 2007, 7 min, 16mm Juxtaposi- representational mode; rath- tion of seeing and sounding, sky and stone and all that’s er the viewer works through Sector 16, WORM.filmwerkplaats and No.w.here plus a few free radicals. in between. A short walk in in an alleyway, to hear vi- and against the film with the sion sounding images, blessed with light and darkness. filmmakers. (Karen Mirza 30 ways to walk, Jeff Gill, 2006, 1 min, video Can you walk Le Granier, Olivier Fouchard, 2007, 14 min, 35mm Le Mont (Daichi Saito) and Brad Butler) the walk? Animated figure wanders through various Granier is an inconspicuous mountain in the Savoy re- layers of intensely processed film emulsion. gion, with a grand history. On 24 November 1248, part Double exposure, Sarah Tulloch, 2008, 4 min, 16mm With De dentro, Peter Beyer, 2006, of the mountain collapsed and took a large part of the a selection of ‘empty’ scenes collected from old-fash- 10 min, video Handproc- Degradation 1, James June Schneider, 2007, 7 min, 16mm local population with it. Fouchard gives the mountain an ioned 16mm nature documentaries, Tulloch set to work essed and reworked film A concept film in two parts shows the degree of dam- aura of mysticism and inaccessibility using intensively in the WORM.filmwerkplaats. The material was proc- catching the Mexican spirit age to film material exposed to x-rays. And exposed and processed film material. essed, mirrored and coloured and welded into an entirely on celluloid. It deals with unexposed roll of film were cut into equal lengths and revitalised image. the spiritual power of this scanned 0, 4, 8, 16, 32, 64 and 128 times at the airport by Discoveries on the forest floor, Charlotte Pryce, 2007, country, which can be found security equipment. 4 min, 16mm Three illuminated, heliographic studies of Nook and cranny, Francien van Everdingen, 2008, 3 min, in both the nature and in its plants observed and imagined. Fragile leaves and very 16mm A film as a large green carpet. From all the nooks people. ‘De Dentro’ attempts fine threads of fungus string together on the emulsion and crannies, slippers of reality come on screen that to portray or conjure up the atmosphere of various ritu- of this hand-developed miniature. twist and turn and fill the frame and create an entirely als of the shamanic Maya tradition and the Huicholes revised world. (Peyoteros) who live in the north, at the documentary Faux movements, Pip Chodrov, 2007, 12 min, 16mm Cin- and physical level. ema is about the illusion of movement and ‘Faux move- The space between, Karen Mirza & Brad Butler, 2005, ments’ rubs it in. The film strip is made up of individual 12 min, 16mm An extravagantly layered , rhythmically pictures in succession so we perceive motion in images complex investigation into a particular architectural WAYS TO WALK that are in fact still. The phi phenomenon explains how space. The film image is constantly fluctuating between Saturday 26th January 20.15 L/V the brain creates bridges from frame to frame, filling in object-representation and surface abstraction. No at- Thursday 31st January 16.00 WORM Discoveries on the forest floor forest the on Discoveries 20 Brief (1) , Arthur van Lee, 2007, 3 min, 16mm A lunch in places the traces of human voices amidst the flickering Let’s make a film the fields. light and shadows of empty passenger cars. Free films made in the labs WORM.filmwerkplaats, Wijk, Daan de Bakker, From end to end, Peter Beyer, 2006, 10 min, 3x16mm A Space Cell and Sector 16 plus a few free radicals. 2008, 10 min, 16mm triple 16mm projection in the tradition of expanded cin- Images shot in the ema. This personal work makes use of balanced images Madame winger makes a film, Helen Hill, 2001, 9 min, Hill wrote “It’s fun to handle film as a celluloid canvas ‘beautiful district’ of in an idiotic world that gradually gets out of balance. 16mm The film version of the reference book of hand- rather than as a fragile carrier of images only to be Overvecht in Utrecht, The material rebels and the strips of film start moving. crafted film techniques Recipes for Disaster: a Hand- handled by lab technicians…. You can experiment and taken apart and put With beautifully overlapping, new associations emerge. crafted Film Cookbooklet, Madame Winger expresses create the most beautiful images ever.” together again. The Hill’s belief that the idea behind a film is more important city reduced to a play Lauter anfange leise enden, Sector 16 collective film, 2004, than the technology used. It describes inexpensive ways Passing through, Frances Sander & Dimitri Berzon, 2007, of light and move- 15 min, 16mm It can be interpreted as a sketch of what to make films, including hand processing and drawing 4 min, 16mm Made by the members of the Czech Atelier ment. was once intended to be a collective Sector 16 feature

directly onto the film. Libusin during a brief stay in Rotterdam. A short work Wijk film. A dark work incorporated into deserted industrial in atmospheric black & white with a realistic approach in complexes in which elements such as light, smoke and an Eastern European style, in which the city manages Tide, Jang Eunju, 2007, 8 min, 16mm Optically printed film fire are rendered with grand gestures and the film ma- to touch a melancholy chord leading to paranoia. made in the Space Cell do-it-yourself film lab. The mys- terial is processed with a variety of techniques. The re- tery of the woman on the beach cannot be unravelled. sult is enormously variegated. Running Time, Helene Martin, 2008, 6 min, 16mm Run- ning Time is a hand printed and processed 16mm yarn Dolce far niente, Lee Wonwoo, 2007, 5 min, 16mm Record- spinned out of found-footage. ings of a tomb shot on Super8 and coloured . A postcard to the deceased. Idyll, Esther Urlus, 2008, 6 min, 16mm An attack of imagined nostalgia for childhood. The applied do-it-yourself Fallen flags, Amanda Dawn Christie, 2007, 8 min, 16mm LET’S MAKE A FILM bas-relief print technique ensures a coloured image. A layered tapestry of trains and underwater footage ex- Monday 28th January 16.30 L/V ploring the realms of fear death and transience, this film Friday 1st February 20.00 WORM Madame winger makes a film a makes winger Madame 22 A noiseless patient spider, Andrew formed into analogue film. From Niagara to Japan Lennox, 2006, 6 min, 35mm Inspired This work shows that mov- Free films from Niagara Customs Lab, Toronto, Canada curated by Sebastjan Hen- by Walt Whitman poem of the same ies are made of film. title, a handmade film about the way rickson and Japanese independent handprocessed films curated by Ken Okubo. memories bind within the brain and Inclined Horizon, Yo Ota, dissipate through dementia like the 2007, 8 min, 16mm With Lab movie, Sebastjan Henrickson, 2004, 12 min, 16mm mother’s funeral and trace foliage from her garden. The building and degeneration of a spi- the concept of ‘Difference Welcome to Niagara Customs Lab Toronto! This film original was buried and shall be re-printed every year der’s web. of the time in and out of displays a multitude of hand made film techniques as on the anniversary of my mother’s death. As time passes a film’, the film shows a well as a look into the inner workings of a motion picture the image will grow and change, as will my memory of Death pt.1, Sebastjan Henrickson, re-interpretation of the

lab created over the span of 10 years. her. (Kelly Egan) 2006, 2 min, 35mm Here today gone spider patient noiseless A concept of the art work tomorrow. Created using a very special re-photography Inclined Plane by Noriyuki Haraguchi. It is a trial to The finite, Alexi Manis, 2004, 6 min, 16mm The Finite lays By grace, Joshua Bonetta, 2007, 4 min, 35mm A direct technique re-shooting hand crafted collaged images express ‘the gap of sense of balance’ visually. Shot with bare the ephemeral and fast fleeting nature of family, animation work compositing photogram, painted chem- adds to the anxiety felt by a friend sudden death. Single 8 film, hand developed and blown up to 16mm with home and life on earth. Old home movies and astrono- istries and grafted archival family footage through a J.K. optical printer. my imagery entwine along a common and inescapable step-printing. A small rumination on film and memory, Regular8 is 16mm film (W8 ha 16mm), Jun’ichi Okuyama, course towards their end. Found footage from a scientific loss and leaving. 2006, 11 min, 16mm “I found an old can of 8mm film!” “It’s Mudaikyu, Masaru Noto, 2001, 9 min, 16mm Along with documentary describes the eventual death of the sun W8 (Regular 8mm). I want to watch it!” “But the projec- the other 3 Japanese films in this programme, Noto’s (and subsequently of the earth) revealing the gravity Behind the walls and under the stairs, 2006, Christina tor is broken, it won’t work.” “I still want to watch it!!” film is related to “Structural film” or “Meta-film”, but also of personal loss. Battle, 3 min, 35mm The spiders are organizing them- “I’ve got it.” “If you put these 2 films side by side, that has eye for the beauty of the image, which is emphasized selves ... one day soon they’ll take over. would make a 16 mm film!” Unbelievable experimental by the black, the white and the silence. Guardian angels, Michele Stanley, 2006, 2 min, 35mm An- film with humour that transcends the boundaries of the gels meet their fate. Fore-and-aft, Sarah MacLean, 2007, 3 min, 35mm We are film format. too much like oysters observing the sun through the FROM NIAGARA TO JAPAN If there are heavens..., 2007, Kelly Egan, 1 min, 35mm This water, and thinking that thick water the thinnest of air. FILM-FILM 4 Roll, Keitaro Oshima, 2004, 5 min, 16mm Sunday 27th January 20.15 L/V film was made from remnants of flowers received at my (Herman Melville) Fake film footage made by digital techniques is trans- Friday 1st February 22.00 WORM 24 Behind this soft eclipse, 2005, Eve Heller, 5 min, 16mm these two practices together, creating a poetic docu- The Filmfarm Touch Shot in the Saugeen River using a special underwater ment of the 2002 Retreat in which the filmmakers and Free films from the IndependentImaging Retreat, Mount Forest, Canada. housing, Behind this Soft Eclipse is a film-poem of the the setting are laminated in gorgeous black-and-white utmost subtlety and finesse, in which images emerge in-camera multiple exposures. Curated by Philip Hoffman. from black only to vanish again. Fall, Deirdre Logue, 1997, 2 min, 16mm In Fall, Logue Across, Cara Morton, 1997, 4 min, 16mm Central tension The shape of the gaze, Maia Carpenter, 2000, 7 min, 16mm continues her sadomasochistic project. She falls (faints?) is built upon a desire to connect with an image from the A short sort of manifesto of radical queer filmmaking over and over again from different angles and in differ- filmmaker’s past. The metaphoric journey forward to with variations in colour and film surface. ent natural locations to become one, in a humorous and see the past is conveyed through a hand-held camera bruised way, with the land.

travelling at a great speed across a dirt road, through eclipse soft this Behind Taking pictures, Scott Berry, 2004, 3 min, 16mm “Nosta- fields, along fences and through woods. gia isn’t what it used to be, I can only picture the disap- Opening series 3, Philip Hoffman, 1999, 7 min, 16mm this time the experience is not sensual release, rather it pearing world when you touch me.” Opening Series 3 features poet Gerry Shikatani and ex- Towards Everyday Lightning, James Gillespie, 2003, 9 is a sadomasochistic journey. plores the relationships surrounding language, image min, 16mm A flashing ambiance, embodying rhythm, Hardwood process, David Gatten, 1997, 14 min, 16mm A and sound, set to the backdrop of a gravel pit. It con- tone chiaroscuro and contrast, plays on ‘enlightenment’ Minus, Chris Chong, 1999, 3 min, 16mm Minus is a hand- history of scarred surfaces, an inquiry, and an imagin- sists of twelve segments, each segment in its own hand- as an elusive but ubiquitous possibility. processed, unedited stream of movements. After sub- ing: For the marks we see and the marks we make, for painted film canister. Using the visual references on the tracting most of what took place before the camera, the languages we can read and for those we are trying canisters, the audience, prior to the screening, makes We are going home, Jennifer Reeves, 1998, 10 min, 16mm what is left is remnants of light and rhythm, traces of a to learn. (David Gatten) an arrangement of pictured canisters, which orders the We are going home is a gorgeous surrealistic film that body in motion. flow of the film. has all of the characteristics of the trance film, struc- Phil’s film farm film, John Porter, 2003, 11 min, 16mm tured around a dream sequence that has no real begin- 5 spells, Helen Hill, 1999, 5 min, 16mm Five spells become Canada’s most prolific filmmaker, John Porter (honoured ning or end. five prayers. Helen Hill, much loved independent film- guest at Starting from Scratch 2007) has made more maker and activist of `the everyday’, was tragically than 300 short films, mostly in Super 8. He has also been THE FILMFARM TOUCH Scratch, Deirdre Logue, 1998, 3 min, 16mm Scratch con- murdered in New Orleans in January 2007. This screen- documenting Toronto’s independent film scene in still Monday 28th January 20.15 L/V veys the filmmaker’s physical insertion into nature, only ing is dedicated to her memory. photographs for about thirty years. This film brings Friday 1st February 16.00 WORM Starting from Scratch: A feast for the eyes, ears, nose and mouth: 26 Artists in Residence 27 Cucinema di Genzano

Three artists who see handprocessing as a key element required to record images which made human activity Is Cucinema a conceptual restaurant, of their filmmaking are invited to realize a short 16mm scarce or only recorded as a trace in the cityscape or a live performance or basically an old- film at WORM.filmwerkplaats. landscape. This project will create a record of the felt fashioned happening? The Italian cook- time or lived time of a space. ing laboratory Cucinema experiments Amanda Dawn Christie is a Canadian interdisciplinary with film and food and investigates the artist. Project: v d/t (velocity distance over time) Masha Godovannaya lives in works in St. Petersburg as processes that make celluloid and food v d/t stands for the physics formula which calculates an experimental filmmaker and curator. Project:Along change into cinema and gastronomy. velocity by dividing the distance traveled by the time with the Phoenix Cucinema was founded three years ago that it took to travel that distance. This film explores the The film is conceived as a free cinematic improvisation near Rome and is made up of a varying possibility of measuring distances between loved ones vaguely based on the myth of the Phoenix. The film group of visual and sound artists. People through time zones. Through various handprocessing will concentrate on the moment when the fire actually are also able to make their own pasta, cut and reworking techniques, this film becomes a repre- consumes the bird. The images will picture a Phoenix’ vegetables and animate directly on film in sentation of the potential isolation manifest in daylight point-of-view: we will watch mythological flames trans- the temporary culinary film laboratory. savings time around the world. forming the Phoenix into its mystical ashes from which The strips of film are fixed to tables and the new being would be born. can be processed by anyone in different Anuradha Chandra lives and works in New Delhi as a ways. In the end, the resulting film is consumed with teacher and an independent filmmaker. Project:Pulse live music provided by the Italians themselves. And, as Pulse will explore the interplay between the pin-hole ARTISTS IN RESIDENCE Italian pride demands, all the ingredients have been CUCINEMA DI GENZANO and different film speeds. The film will hark back to the Presentation of the finished films: Friday 1st February brought directly from their home country. Feel free to join in at Roodkapje some time early days of photography when long exposures were Further details will be announced in the Daily Tiger on Monday 28th January between 14.00 and 20.00. Starting from Scratch Starting from Scratch opens with 28 Portraits Project 29 SCRATCHING FROM START

The film collectives and filmmakers present as guests are invited to take part in a collective film project with the aim of making and presenting a collective film presentation during the IFFR. Point of departure is a series of directors’ portraits shot at the IFFR (on 16mm) that will be developed, processed WORM will open Starting from Scratch with the 100 0 0 2 by Kim Yeon Jeong will be provided with an improv and edited in the laboratory of the WORM.filmwerkplaats. Each of the film makers is invited to communicate his analogue night SCRATCHING FROM START. This night soundtrack. technique (signature) in a practical and active way to the other film makers in a real do-it-yourself approach. Using will progress from its beat-less improvisational base into different film stock and relevant applications, we are ensured of an exciting end-product that will be presented in more danceable sets near its closing. This party is the DJ Sticky Glue will create prints of locked groove records suitable surroundings during the festival with several projectors. start to the weeklong transformation of the WORM.ven- using wood glue and will ‘edit’ them live (while spinning) ue into a hyperactive beehive for film freaks, Tigerpass- using for example lighters, needles and sandpaper. For Final presentation in WORM: Friday 1st February from 12.00 till 20.00. holders, dinner-guests, participates of the Metamkine his compact discs he takes the Yasunao Tone approach, workshops and the inquisitive. sticking Scotch tape on their surfaces to make them skip Starting from Scratch and to expose new audio information which is actually Eni-less will ‘do it’ with the Gruesome Twosome and not present. form for this special night ‘Kinky Klappers’. All three Workshop by Metamkine of them normally not scared of dropping some fat beats! In the bar Super 8 and 16mm film loops, created by the These ‘scratchers-from-start’ will tonight create a participants of the Metamkine workshop, will be the only The French live performance pioneers of Metamkine will hold a 3 day workshop focusing on live presentation of seamless mix using only ‘beat-less’ records. light source. 16mm film and working with sound. Christophe Auger and Xavier Querel are masters of exploring multiple projection possibilities while Jerome Noetinger investigates electro-acoustic environments. The WORM.filmwerkplaats and Daniel Menche is a one-man-noise-band who can cre- More to be announced! CEM soundstudio belong to their area of work. ate music out of any possible sound. As a starting point he will use sounds of his own creating or his SCRATCHING FROM START The results will be presented live in WORM on Tuesday 29th January 22.00. voice to eventually make the sound system bleed. The WORM: Saturday 26th January Free performances with free admission! Korean triple screen 16mm film Hit Stitch – Heat Shot door opens 20.30 / starts at 21.00 damage: 7 euros

Tuesday 29 january 30 WORM 10.00 - 18.00 Metamkine workshop 31 Schedule (by invitation only) Adresses & colophon 18.00 SFS dinner 20.00 Wooden Lightbox / Fellini G Mastorna SatURDAY 26 january 22.00 Metamkine workshop results WORM 13.00-16.00 Lablunch meeting (by invitation only) WEDNESDAY 30 january Adresses: Colophon 21.00-02.00 Scratching from Start party WORM "Super 8 Wednesday" WORM Starting from Scratch is part of the International Film Festival L/V 20.15 Ways to Walk 18.00 SFS dinner Achterhaven 148 Rotterdam in collaboration with WORM.filmwerkplaats 21.45 La Foxe / Metamkine 20.00 Japanese 8mm kicks ass beautiful Rotterdam Delfshaven 22.00 Destra o Sinistra / Paradiso Stills (Tram 4, Tram 8, Metro) Programme: Sunday 27 january 19.30 - 24.00 Super 8 Game Arcade Erwin van ‘t Hart WORM 10.00 - 18.00 Metamkine workshop Lantaren/Venster (L/V) In collaboration with: (by invitation only) Thursday 31 january. Gouvernestraat 133 Peter van Hoof, Esther Urlus L/V 16.30 Wooden Lightbox / Fellini G Mastorna WORM 12.00 - 18.00 Super 8 Game Arcade Rotterdam 20.15 From Niagara to Japan 16.00 Ways to Walk SFS leader: Thijs van Gasteren 18.00 SFS dinner Roodkapje SFS poster and booklet design: Alfred Boland Monday 28 january 20.00 De un vastisimo mar / Le point aveugle Witte de Withstraat 13A Printwork: Knust / Extrapool - Nijmegen WORM 10.00 - 18.00 Metamkine workshop 22.00 Jennifer Gentle live (psych avant-pop) Rotterdam (by invitation only) Big thank you: L/V 16.30 Let's make a Film FriDAY 1 febRUARY Prins Bernhard Cultuurfonds, WORM (Peter Taylor, Katelyn 20.15 Filmfarm Touch WORM 12.00 - 20.00 Portraits project installation Brand), Extrapool (Joyce Guley), Roodkapje, Philip Hoffman, Roodkapje 14.00 - 20.00 Cucinema di Genzano 16.00 Filmfarm Touch Sebastjan Henrickson, Ken Okubo, Amanda Dawn Christie, 18.00 SFS dinner Ben Rivers, Pim Zwier, Mariska Graveland, Roos Geevers, 20.00 Let's make a film the IFFR team, the projectionists and the filmmakers. 22.00 From Niagara to Japan