24th Ji.hlava International Documentary Film Festival
A chrono-photographic visit to the museum in the age of its digital reproducibility. This is the director’s characterization of Carousel, a film that skirts the boundary between documentary and visual art. Using un-commented images, the film correlates the museum space, its visitors, and digital recording technology. Using changing film speeds, visitors become ghosts, their movement becoming the most fundamental element, dictated more by a need to document everything with the camera than a desire to actually view the exhibited objects. The film’s conclusion shows that the most remarkable exhibits at museums today are their visitors.
"You don't have to see. You don't have to feel. You don't have to share. You just have to follow the guide, turn around and admire." A.Gerber
Experimental filmmaker Arnaud Gerber (1971) works primarily with Super 8 and 16mm film. His philosophically-inclined conceptual projects are derived for example from Kierkegaardian appropriations of the phenomenon of repetition in the film Berlin Berlin (2009), or experiences of the working class mediated by the French philosopher Simone Weil in The Real Life (2013).
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