An ice-cream filmed at four fps that melts in five minutes; a portrait of Olivia’s Place, since demolished: Andersen’s early work, concerned with the irretrievable, ask us “when?” and, most of all, “where?”. Fisher, meanwhile, relies on the mechanical rules provided by his material, a construction that lets someone do and say things not dictated by another. In this case, the question would be: “Who?” The places/sets, the extras/characters, the actor/filmmaker, the anticipation/retention, the structure/planning, the continuity that crystallises between prints in a sequence... Why do we continue to use these concepts even when they have are all been reduced to their essential elements? In Lertxundi’s latest films, between the zigzags, the mere succession of frames and shots remind us that cinema is simply a large spherical space in which images and sounds are the main movers.
With the presence of Laida Lertxundi.
The Room Called Heaven, 2012, 11 min; Utskor: Either/Or, 2013, 8 min; We Had the Experience but Missed the Meaning, 2014, 8 min; Vivir para vivir, 2015, 11 min; 025 Sunset Red, 2016, 14 min.
Act without Words, 1964, 6 min; Melting, 1965, 6 min; Olivia’s Place, 1966/74, 6 min.
Documentary Footage, 1968, 11 min; Production Footage, 1971, 10 min; The Director and his Actor Look at Footage Showing Preparations for an Unmade Film, 1968, 15 min.
16mm screening except Utskor: Either/Or (video).