Timing

Fluctuation is a movement that is divided into four chapters 1. Thinking space, 2. Moving thoughts, 3. Dissolution, 4. Specks. I base the form of the moving image on Sonata No. 2 by Polish composer Frédéric Chopin (1810–1849). Fluctuation is not related in any other way to the Sonata. It was showed as a video installation on a single floating screen in a black space.

An observational film that won the grand prize at the Oberhausen film festival; considered to be a manifesto of the post-Soviet generation of documentary filmmakers using the observation method. The film, without commentary, uses its immersive visual poetics to draw the viewer into the lives of ordinary people in the historical areas of Vilnius.

Šimunić uses double exposure to combine footage of people and scenes from 1970s Belgrade with garish images from television shows containing elements of pornography to create an illusory film. He joins scenes from everyday life with his penchant for erotica. This debut film, which took five years to make, uses visual games to explore the limits of the human perception.

Transformation is a short film crafted by Grzegorz G. Zgraj as part of his final student film dissertation. The film explores the structure of images and the relationship between sound and image. By using zoom and fragmented imagery alongside flute and prepared pianos, Zgraj illustrates the complexity of the visual structure.

The filmmaker travelled regularly by streetcar past a fallen electricity pylon that resembled the skeletal remains of a giant animal. The film, which shows the influence of constructivism and industrial music, is also an analogy for the disintegration of Yugoslavia. It was first shown to the general public when it was named best amateur film at the Baden-Baden film festival in 1989.

Market is a time-lapse film capturing a busy market square in Łódź shot in 1970. The short film consists of photographs taken every five minutes over a nine-hour period and by doing so projects the busy market as a constant stream of movement and business.

An award-winning film at the International Festival of Short Films in Oberhausen in 1968 uses artistic means to document the experience of a heart failure. The film’s rhythm does not work only with the dynamic editing and a disrupted shot composition, but also with sound effects and music illustrating the rapid heart rate of an ill heart. By irony of fate, the debut’s director Wojciech Wiszniewski died of a heart attack aged 34.

A possessed talking spring, a clueless blind man, and wandering humanity, three Fates, and a grand pagan ritual: a dark, poetic, visually bewitching Estonian ballad that can be perceived as a celebration of the archaic world, ecological morality, and as a political allegory on a ritual cleansing for the extinction of an advanced society.

Hello, Berlin! is a short film which utilizes found promotional footage of socialist Berlin juxtaposed with footage of an aggressive first date. In the film, Werner used colour footage of an ethereal socialist Berlin as a form of sarcasm which meshes with the imperfect first date; the sarcasm deriving from Eastern Germany’s contentious and fraying relationship with socialism.

An accidental spill of developer on the negative film resulted in moving splotches whose motion, accompanied by rhythmic banging on a radiator, resembles a swarm of insects. Although Šamec intended his film as a parody of avant-garde movies, it was named best experimental film at the Genre Experimental Film Festival in Zagreb.

The use of the word manual in the film’s title is a reference both to instruction manuals and to idea of doing things by hand. In the film, Martinis holds a camera on a tripod that is aimed at the floor, all the while trying to balance it in his hand. While the camera remains static, the “moving” floor creates a visual effect bordering on vertigo.

Home was shot on the principle of using minimalist means of expression. It represents a recording of an event organised within a circle of friends at Železná studnička recreational park near Bratislava. Four protagonists chosen by lot are sew up in canvas, gaining the shape of a white cat of 2x2x2 metres in size. The film combines black-and-white footage capturing an object that is moving through a forest with coloured takes made simultaneously from inside the cat’s body.