An idiosyncratic handwriting, a strong creative drive, historic achievements, or completely new points of view: Our solo retrospectives or film series are to honor those representatives of the cinematic short form whose outstanding works—be they recent or their longtime work—have left an indelible mark on international short film production.
This year we want to shine the spotlight on three fascinating personalities: Alexandre Larose (CA) has made a name for himself by going on cinematic journeys in search of time-based experiences. With a film programme and a masterclass, he now guests at the Austrian Film Museum.
The Spotlight on Makino Takashi (JP), who will present his “delirious excesses” in a film programme and perform live in front of an audience, was put together on the initiative of filmmaker Johann Lurf and in cooperation with the Austrian Film Museum and the distributor sixpackfilm.
Last but not least we are excited to welcome shooting star Jacqueline Lentzou (GR), whose two latest films competed only a few months apart at the Locarno and Berlin festivals. She will be present for the screening of her idiosyncratic narrative films at the METRO Kinokulturhaus, presented in cooperation with the Filmarchiv Austria.
Furthermore, we welcome our Artists in Residence, the two Scottish filmmakers Ross Hogg und Duncan Cowles, who have also designed this year’s festival trailer, as well as the animation filmmaker Céline Devaux and the Belgian illustrator Brecht Evens at MuseumsQuartier’s Q21. (Daniel Ebner, de)
The films of Alexandre Larose, born in 1978 in Lebel-sur-Quevillion, Canada, may be described as a contemporary "Cinema of Attractions," which in various constellations lets viewers experience the interconnections of film, memory, and the perception of dreams and space. There is a somewhat unfinished quality about Larose's films; they always tell stories of ever-fresh attempts at recording something on film, and they blend into each other in terms of form and themes. The brouillard series, by now consisting of 19 versions, most explicitly embodies this principle: The same walk from the filmmaker's parental home to the lake behind it is superimposed dozens of times until time and space subsume on the film roll in a dense matter that appears both more tangible and spectral than much of what cinema has brought forth in its history of visual memories. Using no digital effects whatsoever and, instead, closely oriented toward the characteristics of analog material, Larose creates impossible images that have their origin in the real world. (Alejandro Bachmann)
With the intense coming-of-age drama Thirteen Blue, her graduation film at the London Film School, Jacqueline (actually: Zaklin) Lentzou, born 1989 in Athens, Greece, gave audiences the first taste of her abilities four years ago. Invitations to talent pools in Sarajevo and Berlin followed, honing her style and storytelling chops and eventually leading to two competition submissions for Locarno (Fox) and the Berlinale Shorts (Hiwa) a few months ago. Emotions and dreams serve Lentzou as inspiration, as she explains in an interview, and her sense of the complexity of interpersonal relationships shape her mostly existential stories about growing up and taking responsibility. The director is an observer; she follows her actors and actresses with a curious eye, many closeups, and a handheld camera. In her most recent projects, she has been experimenting with early video formats. Currently, Lentzou is working on her first full-length feature. (Marija Milovanovic)
Makino Takashi, born in 1978 in Tokyo, creates works of ecstatic excess enabling experiences in the moment of their projection that are generally postponed to a later time – as if one remembered the images in the moment of watching them. This is how one might describe the often sweeping compositional arcs that only allow outlines of the concrete images and sounds to shimmer through the medium's torrential rush. The films, which have received many international awards (among them the IFFR Tiger Award) consist of countless layers and sprawling multiple exposures of concrete images that liquefy at a certain point and cause the screen's surface to disappear. In collaboration with musicians like Jim O'Rourke and Inconsolable Ghost, Makino creates a cinematic experience that makes the inextricable ramifications of abstract and concrete images tangible for the senses and guides one's eyes and ears – and with them, the concept of cinema – to a perceptive zero point. (Alejandro Bachmann)
With best thanks to Johann Lurf