Four Parts of a Folding Screen

Stephen Dwoskin’s final film is a meditation on the subjective experience and cultural concepts of ageing. The film is an ode to the texture, the beauty, the singularity of aging faces and silhouettes, a hypnotic poem in the Dwoskin meaning of the term which is long observations of very tiny details. A gesture, a pause, a look, a moment. Throughout his films intimacy has always played a leading role and this is also true for Age is..., all the faces being close friends, or close friends relatives and sometimes even Stephen himself.

Stephen Dwoskin brings together members of the Ballet Negres dance company, founded in London in 1946.

A pioneer in sound recording, Ludwig Koch was suspected by the Nazis of complicity in the Reichstag fire. After taking refuge in England, he specialized in recording birdsong. Blending contemporary imagery with his sound archives, the film retraces his journey.

"Either in its natural state or with its embellishments of makeup, jewels, and hairdos, nothing can restrain the imagination from the most forms of speculation. All the senses are concentrated in this one head: eyes, ears, nose, lips, tongue and the skin which covers all with its network of vibrating nerves. One imagines the senses, the counterpart of our own, ready to respond with all the various moods, suggestions and agreements. Through the eyes alone, when placed in contact with our own, a visual dialogue and interplay is embarked upon. And when the lips, two bodies fitting together in perfect harmony, break into a smile, they invite further exploration. Then, with the engagement of time, this dialogue shifts from speculation to realization. The face transforms from its abstract suggestiveness to the singular projection of seduction. It is no longer anyones face; it is the face of one particular person" (Stephen Dwoskin)

A rich and challenging account of the experiences of a German Jewish musician who settled in Britain to escape Nazi persecution. Two of his friends are being sued by a former SS Kommandant, who denies their accusation that he was responsible for the genocide of 300 Belgians. Documentary interviews and archive footage merge with dramatised scenes to create a new way of representing history and memory.

Based in part on the memories, unsent letters and notebooks of a young photographer who lived in Berlin-Tempelhof. Aspects of her life are mapped out within this small area of Berlin through a succession of haunted images and sounds that imbue place with a sense of memory and history.

A video correspondence between two filmmakers.