THE NEW MEDIUM has been bringing you transformative cinematic experiences since 2016 with its program of The New Medium III genre-defying film works, and by changing our experiences Multi-Screen Cinema of the cinema hall itself. THE NEW MEDIUM considers that cinema editing, duration, narrative and reception This year, you will enter not only a multiplex with many is a relatively new medium, when seen are oriented towards single screens. screens, but a single hall with multiple screens. In a play alongside the other spatial and temporal More than one screen immediately with the architecture of the cinema, films composed for arts: painting, sculpture, architecture, challenges a lot of our rituals and habits, two and three projections will surround you with images, music, poetry, and dance, but also the and lures us into a world where different rather than being seen frontally. Sixteen such polyptych one in which impossible movements conditions may abound. As New Wave films and video installations, many of them Asian between all the arts can happen. This pioneer Agnès Varda puts it simply in premieres, will be presented in the cinema for the first time. is the third year of THE NEW MEDIUM the title of her work: 3 moving images. program. 3 places. 3 rhythms. 3 feelings. Engulf yourselves in works by pioneering filmmakers and contemporary artists over two days at this one-of-a-kind There is no good reason to use only one How will cinema negotiate the time festival within the film festival. screen in cinema. This has been obvious of more cameras than people, more to filmmakers and artists for a long distraction than attention? What is its time. Multi-screen apparatus was part formal response, its ability to invent THE NEW MEDIUM III of the Expanded Film movement of the amidst chaos and multiplicity, and 1960s, and multiple video feeds were without reverting to a grand tradition? Multi-Screen Cinema used for live feedback by performance Varda seems to say we can be precise in artists since pretty much the advent our answer: 3 feelings, 3 screens. of the medium. But there are also contemporary, cinematic reasons to Today it is not unusual to see film Diptych, 2 Screens be excited about multi-screen cinema. works made for three, four and even Festival pass Rs 500 only. Free with student ID. On the one hand, so many of our eight and twelve projections playing on Register on BookMyShow Triptych, 3 Screens conventions around camera, sound, loop in a museum or biennial. Such an environment has its obvious downsides: for faceted yet shared experiences, and Mani Kaul's documentaries on art forms The Otolith Group makes visceral the a culture of people casually entering for a proper cinematic use of the term including poetry, music, sculpture, cinema words and sounds of Eastman, whose and leaving at any time, and generally "Multiplex". and performance. Iti - The End (2017) is recordings were never released in his non-optimal seating, sonic and viewing a "new" three-screen Mani Kaul treatise lifetime. Similarly, Jeamin Cha accesses conditions. This year's THE NEW MEDIUM Over two days, the world will be let in on aesthetics and cinema that does not transcripts from twelve meetings program has a proposal that to our via a multitude of great artists and their separate or alienate us but pulls together the Wage Commission in Korea had knowledge has never been done before work, surrounding us with many more new relations between old and new conducted while negotiating the annual inside a cinema hall: A full festival than "3 feelings". They encourage us to things. The triptych Cyclops Cycle (2004), national minimum wage. She culls a program of innovative multi-screen take nothing technological, and not even an anthology of shorts by structural 'screenplay' from them, that is then cinema, retaining the intimate, engulfing the familiar experience of cinema, for filmmaker and pioneer of Expanded skillfully performed in Twelve (2016) by feeling of installations, but pushing the granted. What follows is a quick tour Cinema Malcolm Le Grice, uses 4 x 3 actors, a screen each representing cinema effect with timed shows, seated through the program. repetition and subtle editing differences the business owners, the government audiences and surround audio. to fine-tune our understanding of non- body, and the workers union. Forensic At the age of 90, Agnès Varda debuts narrative patterns in film and Polyptych Architecture re-enacts using both When the documentary film movement her first multi-channel work, 3 moving cinema. computers and physical models, the in India was asking, over a decade ago, images. 3 places. 3 rhythms. 3 feelings scene of the shooting of Turkish-German "where are the screens?", they were (2018). Taken from her films Vagabond, A contemporary poet and a dancer Halit Yozgat in Kassel, one of several referring to the shift to digital that had Documenteur and The Gleaners and I bookend The Third Part of the Third organised racist killings by Neo-Nazi made film production independent, but respectively, the work is 3 single shots, Measure (2017) by each performing groups. With FA's well-defined mode of not necessarily its reception. We had each with a different speed; the sound a statement that Afro-American merging the disciplines and aesthetics of hundreds of films, but no screens to comes and goes, and then multiplies. avantgarde music composer Julius forensics and architecture, they expand show them. Today, with Netflix and Mubi, Varda sets the stage by showing us what Eastman made public, when the the 77sqm_9:26min (2017) space and Karagarga and Indiancine.ma, the options a multi-screen grammar might look like. titles of his compositions were found time of the event, and approach it from for watching and appreciating film are This language is at once complicated by objectionable. Between these multiple perspectives and media in multiple, and yet largely single, private Piyush Kashyap, a young film editor re-readings, four pianists on two quest for the truth about the murder. screens. In this sense Multi-Screen Cinema who, working with the film scholar Ashish pianos and two screens perform his SOS-Adoptive Dissensus (2009) is is also a metaphor: For collective viewing, Rajadhyaksha, pulls sequences from militant scores. Within this structure, a documentation of a remarkable performance Minouk Lim set around world architecture and the commentary refugee's migration pattern from the Lab, 8mm home movie footage of the Han River in Seoul in which a tour- of interlocutors to look back at the Siberian Gulag to the UK, alongside an the brothers Issei and Jun Sagawa as boat operator, a searchlight, two lovers potentials and fallouts of the EU landscape of data flows and security children growing up in Japan plays at its and a group of protesters interact. Non-Aligned Movement. systems. A prisoner in a high security own pace alongside an edit of a close-up prison near Paris was tasked by The interview with the Sagawa brothers in The written word, text as image and In our second feature, The Burial of the Museum of European and Mediterranean the present, and the manga Issei made sound gains profound meaning in Allora Dead (2016) filmmaker Salomé Lamas Civilisations to digitise a collection of illustrating his own act of cannibalism. & Calzadilla's The Great Silence (2014). takes on the practice of observational early 20th century stereoscopic images In it, writer Ted Chiang's poetic essay ethnographic documentary, extending of travels through Europe, photographed 6 women artists and filmmakers, 5 men is embodied by endangered Amazona our sensibilities and gaze across three by a Cossack who left Russia before and 5 collectives. 16 Multi-Channel films. Vittata parrots in Puerto Rico who screens in an startling portrait of a gold the revolution. Uriel Orlow's Veilleurs Making this program possible inside a hope that Arecibo, one of the world's mining town in the Peruvian Andes, d'Images/Image Guardians (2017) cinema environment has been a labour largest radio telescopes is listening 18000 feet above sea-level, the highest delicately intertwines their stories and of love - of building, encoding, syncing to them, even as it seeks for signs of permanent settlement in the world. presents us with left and right "Stereo" and coaxing, produced entirely by a intelligent life on other planets. In The Anthropologist and filmmaker Steffen images. group of artists who share a passion for Dreams of Cynthia (2017), Pallavi Paul Köhn and cinematographer Paola technology and cinema. translates Anish Ahluwalia's Hindi Calvo present us with A Tale of Two A viral music video for the song poem Cynthia Ke Sapne, into a bi-lingual Islands (2012), a documentary short #blacktivist by the Flatbush Zombies, We hope to see you there. text that punctuates the lives of the about travel and migration between directed by Mario Pfiefer is presented two protagonists, a trans woman and two islands in the Indian Ocean, one a here in its expanded avatar, juxtaposed -- Shaina Anand a hangman in Northern India. Naeem French Department, and the other in the by the artist with footage from a Mohaiemen eschews voice-over, Comoros Union. This form of "binary" workshop in Texas that makes open- opting for inter-titles in his feature- relationship between 2 screens and also source 3-D printed guns. length 3-channel film Two Meetings between movement and internment is In our final two-screen, Commensal and a Funeral (2017), which brings further explored in a compilation of shorts. (2017) by visual anthropologists Lucien together archival recordings from the Ursula Biemmann's Contained Mobility Castaing-Taylor and Véréna Paravel NAM summit in Algiers, modernist third (2004), is an account of a Belarusian of the Harvard Sensory Ethnography 3 moving images.