Due to Covid, this event has been rescheduled to Friday 26th of February at 9:30 pm.
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Cinematica’s LOVE edition aims to explore the myriad shapes of love in all its glorious forms through the medium short-film, obscure and experimental film, the moving-image and avant-garde cinema.
- Irene Proebsting and Barry Brown were active members of the eclectic and iconoclastic Melbourne Super 8 Film Group and have been collaborating on hybrid analogue digital media projects since the 1990s. Their films and soundtracks deploy numerous compositional strategies including appropriation, chance, collage and improvisation, and utilise a variety of idioms ranging from evocative post-verity dramaturgies to absurdist agitprop narratives. Their works have been exhibited in a number of experimental screenings such as the Night Projection Window at the CCP, discreet montage at the Latrobe Regional Gallery, and Obscure Transmissions as part of the RetrOZ! Series, at the Artist Film Workshop.
- Audrey Lam
Audrey studied screen production and photography at Queensland College of Art. In 2015, she undertook an Asialink arts residency at Green Papaya Art Projects in Manila. Audrey has participated in art and film labs including Fondazione Antonio Ratti Advanced Course, Locarno Filmmakers Academy and Adelaide Film Festival Hive Lab.
- Barış Ulusoy holds a Bachelor of film and Television from Swinburne University of Technology and is the founder of Near Dark, an independent production company and creative collective. He has established an independent slate of work that has engaged with national and international festivals applying his learning to a broadening slate of short and long form content being developed with a range of immigrant-Australian creators. At the beginning of 2020 Barış had the privilege of attending the Australian International Documentary Conference as a Leading Light recipient.
- Rouzbeh Rashidi
Rouzbeh Rashidi (born Tehran, 1980) is a filmmaker and found of the Experimental Film Society. He works away from mainstream conceptions of filmmaking, striving to escape the stereotypes of conventional storytelling. Instead, he roots his cinematic style in a poetic interaction of image and sound.
The feature of this series is Phantom Islands, a pictorial film by Iranian filmmaker, Rouzbeh Rashidi and produced by the Experimental Film Society. Phantom Islands is an experimental film that exists at the boundary of documentary and fiction. It follows a couple adrift and disoriented in the stunning landscape of Ireland’s islands.
Phantom Islands thus could be defined as a metacinematographic work to the extent that its reflection is decisive in itself, not for itself: cinema does not refer to anything other than itself. It is a fiction, yes, but it is a documented fiction, a documentary that continuously documents the fiction it produces.
– L’emergere del possibile
Director’s Personal Note: The melancholic and sadomasochistic patterns of destructive behaviour intrinsic to us as human beings keep repeating and regenerating themselves. In order for us to survive, they grind our relationships, friendships and even our entire lives into ashes, dust and ruins. With this waste material, we turn towards cinema which subjects it to further metamorphoses. It processes and is permeated by our intimate detritus, allowing us to regard it as an alien child now born and wandering the earth: both us and not us. It’s a tragic reflection of our past and a mute teller of our distant future. It is a phenomenon that devoured us to exist only in a present tense. We created cinema merely to venerate a hologram of everything we have demolished. Ruins of time made with kino apparatus!
A selection of film curated by Tessa Spooner