Ivan Buharov

A program

White-clad figures in gas masks appear from time to time. They are the Program group. It is presumably the behaviour of these characters - the population - who appear in each other's strange dreams that has triggered the desire of businessmen and politicians to call in foreign help to restore order. They have come with unknown aims, and are doing their work in terror. The film is a chain of surreal dreams, yet the feeling is familiar. We are home.

Slow Mirror

Do you know what barman pours for spirits? Do you know what drink the barman pours? If your lover pours the drink, it's your destruction, If the drink is fiery, inside it brings illumination. Drink intoxication's drink, be consumed by love! A drop happily seeks its death in the ocean's water. All the world's a bar and things in it merely glasses, Our friend raises his glass for us and we pay the bill, Even wisdom is drunk, descending into stupor, Earth and heaven are drunk, and all the angels too.

Hotel Tubu

Hotel Tubu (2002) is a good introduction to the Buharov’s cinema. A relatively early work, its slapstick playfulness and improvised fancy dress party aesthetic might at first suggest a wilful exercise in absurdity for its own sake. Yet this is tempered by a rather wistful lyricism, which combines with the haunting elusiveness that accompanies the first viewing of many Buharov films, an unease not dissimilar to trying to recall a dream that only presents itself in fragments. This stems largely from trying to process the complex layers of impressions that it offers within a very condensed running time. It shows the struggle between three “cosmos workers,” beings whose task is to wait for ideas too big to be conceived by human brains to be channelled from the universe.

Oneheadword Protection

Oneheadword Protection uses stop-motion animation techniques throughout, irrespective of whether a scene features objects, cardboard cut-outs or human bodies. This gives the film a febrile, panicky rhythm. An all-important sense of play and dressing-up runs throughout, yet the energies this 'playing' unleash are far from innocuous. (Re:Voir)

Water Music

Five young men leave the french Atlantic shore to go on a music tour in a beat up old van. Aiming for Switzerland and taking every opportunity to swim, they keep close to rivers and lakes. Their meandering journey leads them into Eastern Europe, meeting musicians and discovering ancestral links between improvisational music and the transmission of folklore in a brave new world dominated by mass media culture. A testimony of August 2011 in Europe and how to recycle songs and cinema history without using the usual maps.

The Triumph of the Concern for the Other Man

The 40 Labor [the manufacturer firm] as a faithful conservative reaches back – his generation only – to the tradition looking like the lost one. To the twentyfold years’ avantgarde, the ones of sixty filmlanguage-his narration revolution, to the seventy ones’ experimentation. And to the postmodern one which recalling was kept always, for which all this fits shakily under the world’s big umbrella, ( everything else – and the contrary of everything – too). Buharov brothers strong and effective pictures are dreamed onto the linen, their work lasts caught if we understand nothing from him. We do not recognise their world’s rules, we feel it though these rules his strength.

The Price of Memories

Kormányeltörésben