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Intersections

Jerusalem Film Festival & Mamuta Art and Media Center

Wednesday 13/7, 20:00-23:30
Free Entrance

 

20:00 at Hansen House 

The Experimental Cinema and Video Art Awards 2016 : Dana goldberg & Efrat Mishori – No Shadow , Elham Rokni – The Wedding, Hila Ben Ari – Naamah: A Tribute to Nahum Benari , Nira Pereg – Ishmael , Orit Ben Shitrit – Onomono, Sirah Foighel Brutmann& Eitan Efrat – Orientation

program time: 61 min

22:00 Hansen House .

Chantal Akerman | 3 first short films 

Presented by Vivian Ostrovsky

Saute Ma Ville, 1968 (13 min)

La Chambre, 1972 (11 min)

Hotel Monterey, 1972 (62 min)

the programs are part of Intersections, initiated and supported by the Ostrovsky Family Fund. Produced by Mamuta Art and Media Center. Curated by Vivian Ostrovsky and Sala-Manca

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Chantal Akerman | 3 first short films

Wednesday 13/7 22:00

Mamuta at Hansen House

Screen in the Open Air Garden | Free Entrance

Presented by Vivian Ostrovsky

Saute Ma Ville

1968 | 13min

Saute ma ville (1968), the first short film by Chantal Akerman, allows each of us to identify with the position of women assigned to the home (here, the kitchen is the emblematic space of this universe) and, as a retort, glorifies the revolt against this confinement, doomed to its own destruction.

Saute ma ville is supported by images constructed like a burlesque and the performance of an actress that seems to come straight out of a slapstick comedy. This exuberant character is played by the filmmaker herself, who literally bursts in front of a large building (the sounds of the city being omnipresent there), flowers in hand, to get back to her apartment. Akerman’s humming adds an enthusiastic and light touch to this jaunty entrance.

La Chambre  

1972 | 11min

A camera slowly and silently pans 360 degrees around a cramped tenement apartment several times, on each rotation picking up the same objects as well as Akerman herself, lying on a bed, brilliant shafts of light streaming through the window behind her. The only figure in the room, Akerman changes her position and demeanor every time the camera returns to her. Her behavior grows odder, and so, ultimately, does that of the camera, which, on the fourth rotation, suddenly changes direction.

Hotel Monterey  

1972 | 62 min

Through a succession of elegantly composed, silent shots Akerman transforms a run-down Upper West Side single-room-occupancy hotel (where she had sometimes spent nights with a friend) into a site of contemplation and unconventional beauty. The shoot lasted one night, during which Akerman and Mangolte would put the camera down wherever it felt right and roll until Akerman’s gut told her to stop. The result is minimalist yet rich: the viewer, wandering these mostly vacant hallways, elevators, and bedrooms, grows hyperaware of her or his own physical presence. A hotel is a place meant to be occupied, yet this one is largely drained of visible people, so it often seems like a way station on the road to some netherworld.

The Wedding

Dir.: Elham Rokni

The work is based on the wedding video of the artist’s parents, which took place during the Islamic Revolution in Iran. Struggling to remember the exact date of the event, Rokni’s relatives draw a picture of the excitement, confusion, and eventual disappointment of those historic months.

2015 | 12 min.

No Shadow

Dir.: Dana Goldberg . Text: Efrat Mishori

a video poem, a surreal-associative dream-nightmare, and a cinematic experiment that echoes the silence of one woman’s subconscious. The film was shot with a smartphone (Samsung Galaxy S4).

2015 | 8 min.

ONOMONO

Dir.: Orit Ben-Shitrit

Onomono depicts a circle of destruction and the impact of capitalism on our psyche. This short video captures the ailments of our society through a montage of archival footage, including depression-era economic graphics, catatonic patients, original footage of the Atlantic Ocean, Cappadocia and a dilapidated outpost in Abu-Ghosh.

2016 | 4:25 min.

Orientation

Dir.: Sirah Foighel Brutmann, Eitan Efrat

The work focuses on the ability of architectural material, sound and image to register collective experience by looking at two locations: the public sculpture in Tel Aviv that commemorates the city’s founders, and the shrine of Salame, a Palestinian village that once stood in today’s Israeli Kfar Shalem.

2015 | 13 min.

Naamah: A Tribute to Nahum Benari

Dir.: Hilla Ben Ari

Naamah is a gender interpretation on the play Tubal Cain, which was written by the artist’s grand-uncle, Nahum Benari.. The film focuses on Tubal-Cain’s sister, Naamah, a mute gleaner, and uses  choreography to express a range of physical situations, from strong  to weak to a total collapsed state.

2015 |  14:17

Ishmael

Dir.: Nira Pereg

Ishmael continues Pereg’s ongoing investigation of the everyday routine at the Cave of the Patriarchs ( also called the Ibrahimi Mosque  الحرم الإبراهيمي‎). Under close military supervision, Pereg spends a whole day following the adhan- the five Muezzin calls for prayer- from 4am to 9pm, documenting the singularity in which this ritual is conducted there.

2015 | 10:41 min.