July, 4th 1941, Norman McLaren, 1941, 2’
Continuing his stop-motion works, McLaren captures an entertaining, playful evening with four friends in a garden. In-between naps and drinks, the actors (the filmmaker’s friends) play and dance around.
Splash, Ilse Gassinger, 1989, 1’40’’
A rythmic montage of bodies swimming in apool, jumping and sun-bathing to the beat of a playful soundtrack.
La plage, Patrick Bokanowski, 1991, 13'
From dawn to dusk, the life of a small Norman beach metamorphosed by special effects and optical tricks. A completely unreal and imaginary vision from a true alchemist of the image.
Moon's Pool, Gunvor Nelson, 1973, 15'
Dreamlike visions of floating bodies. Photographed underwater, the film creates a sensual web of images: from light to the night sky, from water to fire, from the female to the male body, from the sea to the bathtub and the pool. The constant movements and undulations of the surfaces portrayed erase the spatial limits.
Sunny Swing, Juan Bufill, 2010-2014, 3'
Drawing with sunlight and camera movement. Dots and lines on the sea. Movement as landscape. Vision as dance.
Les tournesols, Rose Lowder, 1982, 3'
Between stillness and movement, Lowder films field full of sunflowers. Produced frame by frame, the film morphs into infinite variations.
Séchage, Erik Bullot, 2002, 10’
Collaboration between the filmmaker Érik Bullot and the painter Perejaume. A performance in the form of a journey through nature that leads to the Painting Museum in Sant Pol de Mar.
My tears are dry, Laida Lertxundi, 2009, 4’
Two women, a bed, an armchair and the beauty of the exterior landscape. The eponymous Hoagy Lands' song (whose lyrics refer to the California sun and its promises), is interrupted by the sounds of a guitar.
Super 8, David Domingo, 1997, 7’15’’
A film tribute to the Super-8 format, clearly influenced by the cinema of Ivan Zulueta. David Domingo mixes images, often in time-lapse, which refer to pop culture (Star Wars, Flash Gordon...) but also to a certain sense of landscape and time passing.
