Allers-Venues

"Readings. A place. Purity of lines. Fine angles. Dominance of whites and blues. Fragility of tapered glasses." A visual evocation of the writing of Katherine Mansfield.

Funny collage of sea, sun and ice. A show from the beach with skiers, tigers, mermaids and much more.

Based on a correspondence between Brazilian artist Ione Saldanha and the filmmaker, this portrait was made for an exhibition at the MAM (Museum of Modern Art) in Rio de Janeiro. Ione Saldanha (1919-2001) was a contemporary of Lygia Clark, Sonia Delaunay, and Vieira da Silva, all of whom were her friends. She abandoned painting on canvas for more sculptural supports like batten and bamboos which she shaped with color. Matisse was constantly present in her mind and work for inspiration.

"The film is a travelogue of sorts. In 1960 my family lived in Brazil when my father discovered his sister and brother in Moscow, who he hadn't seen for 40 years, were still alive. Since they couldn't leave the USSR we went to visit them regularly for about 15 years. At the time I had my 8mm then a super 8 camera with which I filmed the family, our outings, picnics, markets and their homes… I decided to use this material, which was not very interesting per se, by mixing it with Soviet found-footage of the same period (1960's, 1970's, 1980's). I used feature films, propaganda footage, newsreels, etc. The result is a kind of Khruschev-era mix with a collage of Soviet music and a voice-over of my memories of the Cold War period."

With a super 8 camera from Paris to Berlin, from Amsterdam to Rio, from Jerusalem to New York shooting only at night. Hungarian crooners, Indian tribal chants, opera arias, and an occasional samba make up the sound track of this “hand-held” diary.

"Going through my mini DVs shot over the past decade, I rediscovered a forgotten night sequence of Chantal Akerman and Sonia Wieder-Atherton leaving a brasserie where we had dined together in Montparnasse. The excerpt stayed with me for a while. This prompted me to focus on Chantal’s sound work in her films and her very close collaboration with cellist, Sonia Wieder-Atherton with whom she made more than 20 films. And, since New York, Paris and Moscow were places the three of us had in common, I intertwined some of my images with hers."

A single-screen version of the Portraits / Mirrors multi-projection. Featuring portraits of: Aloual, Gaël Badaud, Raphaël Bassan, Yann Beauvais, Jean-Michel Bouhours, Gérard Courant, Berndt Deprez, Bertrand Gadenne, Mythia Kolésar, Christian Lebrat, Stéphane Marti, Pascal Martin, Michel Nedjar, Dominique Noguez, Vivian Ostrovsky, Bernard Roué, Martine Rousset, Alain Sayag, Unglee, and Catherine Zbinden.

The voices say a story. forget it. Of what time. And who speaks. Both of them. One or the other. later. Others may be. Of chance. Which would cross in this narrative. When. The times have intermingled. The winds meet. History. Pictures. The summer. Humble vacancy with furtive foliage. Fragile memory. Light is a trace of forgetfulness.

A delightful update of Jacques Tati’s classic Les Vacances de M. Hulot (Mr. Hulot’s Holidays). Seagulls squawk, waves crash and swimmers cavort in endless summer days spent on the beach. TATITUDE suggests that sand, water and sun are the basic elements in a happy, carefree life, and maybe even the secret to eternal youth.

Portrait. She dances in the center of her area. Obscure to the look. She abandons us to her limit. Turn. Count the chips. Conjugate. Turn on yourself, in a blind echo. Cross the already deserted space.

Brooklyn boxers and boucing balls.Catalan dancers and Provençals dogs. The Douro, the Danube, Biarritz, Brazil. In super 8 colours and black and white sounds.

A Russian can say, “I hear the smell…” A maestro has a vision of what a symphony should sound like. In a silent film how can one make the spectator see the sound? A vivid and noisy assemblage of archival and contemporary imagery meditating on the past and presence of film audio.

An observation of humans' and animals' table manners as they gulp down breakfasts, lunches, cocktails and dinners in a variety of situations.

A new short film by Vivian Ostrovsky remembering Chantal Akerman, beginning with their first meeting in the early 1970s. Using her own footage of Chantal Akerman, the filmmaker remembers a few moments that illustrate Chantal's personality. Forty years of friendship condensed into four minutes...

A fragmented tribute to Ukranian-Brazilian novelist and fashion journalist Clarice Lispector that interrogates the idea of "in-betweenness," the intermission, a hiatus.