Selected solely on the basis of their very short duration (<5'), peculiar snapshots, humorous detections, acute observations and little formal studies compose an anthology of seventeen thematically varied cinematic haikus.
Screenings: Friday, 23.00 & Saturday, 18.00
Asynch
Trailer Truths I
Erica Scourti (UK, 2004, 2')
Words and phrases taken from movie trailers are collaged together to create a darkly humorous text about war, evil and propaganda.
Bloody Sam's Shortest Scam
Arte Povera Digitalis vs Sam Pekinpah (Greece, 2004, 1'40'')
Children play -grownup directors too. Recycled cinema or a story saved from oblivion? A filmic argument and some straight clear fun.
Red Strawberries (4)
Constantinos Dagritzikos (Greece, 2005, 1'58'')
Once upon a time there were 4 red strawberries...
Asynch
Manolis Aggelakis (Greece, 2005, 3')
Synched or not...
I Wanna Be K.B.
Petros Birbilis (Greece, 2005, 4'45'')
A fan is trying to "get in synch" with the mood of his favourite singer (K. B.).
Cell Phone Java Bodhi Svaha
Andy Kirshner (USA, 2003, 2'02'')
Cell Phone Java Bodhi Svaha is based on a poem by Evan Chambers, about a squeak toy Buddha who drinks coffee. A whimsical portrait of the multi-tasking Buddha within us all.
Knocking 9 Doors
George Kouvaras (UK, 2003, 40'')
A gentleman offers some help to a kid trying to ring a door's bell and finds himself in an embarrassing situation.
Lord 4 Sale
Nikos Margaritopoulos (Greece, 2003, 53'')
A museum of kitsch for sale. A small truck, carrying memories of the life and the trips of the Lord of the harbor. A rare incident that cannot take place twice.
Ersetze jede gebrochene Schutzscheibe
Eleftheria Sotiropoulou (Greece, 2005, 38'')
The skin is a semi-penetrating film, a limit which communicates. This double shoot against the limit oppresses -immobilises the person that accepts it. The exterior effect comes in conflict with the internal will. The shoots continue to be shot inside out and the limit remains there underlining the immobility. When the circle closes, replace any broken protective skin and as in a videogame wait until it starts again.
HKJG03
Jennifer Gauthier (USA-Hong Kong, 2004, 1')
A New York filmmaker hits the streets of Hong Kong in search of Fallen Angels.
Trailer Truths II
Erica Scourti (UK, 2004, 2'15'')
Text taken from movie trailers is collaged together to create a satirical sermon on faith and hero worship in the age of the blockbuster.
Wrestlemania
Loukas Tsouknidas, Theodoros Theodoropoulos (Greece, 2004, 1'20'')
The times when you'd empty your parents' wallets in order to play WWF at the neighbourhood arcade are history. Nowadays, there's no Hulk Hogan nor Ultimate Warrior: real fights take place using sms messages and when things get ugly, creepy fingers come up!
Struggle For Existence
Yu-Chen Wang (UK, 2005, 1'58'')
By linking Darwin's "The truth of universal struggle for existence" with a Taiwanese children's game, the video represents a simplistic drawing exploring two individuals' slaughter in the virtual battle field. Here tanks, naval forces and fighter planes are drawn to shoot enemies. It reflects on the ideology of boundary dividing, self-defending patriotism and bellicosity.
C U there
George Hilaris (Greece, 2005, 1'18'')
An erratic mixture of sequential imagery in conversation with rhythms and sounds. Quick cuts and broken narratives form the basis of a claustrophobic and disturbing world in which the viewer seeks structure in order to sanitize the ambiguous and the bizarre.
Lie
George Vavylousakis (Greece, 2004, 3')
If a woman's charm prevails the direct perception of her feelings, then that speaks for an orchestrated seduction. Of course, many are those who believe that the eyes never lie.
One Minute Against Time
Yannis Yaxas (France, 2004, 1'20'')
A filter is used as a time mechanism that counts a minute anti-clockwise, on a fixed shot of a tree on the beach.
Trailer Truths III
Erica Scourti (UK, 2004, 2'25'')
This film uses the language of mass entertainment to parody a critique of society and concludes in a politically ambiguous rallying cry for change.
Running Time: 32'
Curator: Marina Gioti
