Marcell Iványi - Wind

We have selected three single take films by different directors to be shown in this screening. The camera takes a different direction in each of these works: we see 360 degrees movement, smooth tracking shot from the right to the left and finally a long camera movement in depth. The durations of the films vary from 6 minutes to 43 minutes. 

SUN 14.4.2013, Juhlasali, 18:30


Marcell Iványi: Szél (Wind) (Hungary, 1996, 35 mm, b/w, 6 minutes)
During a film course lead by Yvette Biro at the Hungarian Academy of Drama and Film in 1995, the director students were shown a black-and-white photo “Les trois femmes” taken by Lucien Hervé (Audincourt, France, 1951) , and they were given the task of writing a short film based on it. “There is a point or detail in every photograph that attracts the eye. A special detail that stands apart, that stands out. This detail will get an emotional charge and will influence the state of the observer. This emotion leads the eye along within and even outside the photo. It may be a hat thrown up in the background, a half of a face in the frame, a hand that squeezes something, smiling lips, or a dog staring intently into the camera. This small image will only become dominant with all the other details in the big image, it will only represent the emotion that is capable of launching a story as a part of it. Perhaps this is the way a still image will become a motion picture.” (M.I.)


Béla Tarr: Prologue (2004, b&w, 6 min)
Prologue is part of a 25-film project “Visions of Europe”, including contributions from European directors including Tarr, Peter Greenaway, Aki Kaurismäki and others. Prologue consists of a single tracking shot  showing people, supposedly workers, standing in front of a broken brick wall.  The camera stops at the end in front of a window of a soup kitchen, from where a woman gives a small bag of food and a plastic cup filled with some beverage to each of them. There is no relief, or any dramatic reveal. The film is accompanied by the melodramatic music of the composer Mihály Víg which is in highly contrast with the bareness of the image.


Daniel Kötter: Neues Theater (2012, video, colour, stereo, HD, 43´00)
Daniel Kötter’s single take film Neues Theater, based on a performance staged in November 2011, examines a moment of fundamental change in the understanding of public space in post-communist Poland. The workshop hall of the Warsaw City cleaning company MPO will turn into the new cultural centre for Poland’s most internationally renowned theatre company Nowy Teatr and the work of the workers will be replaced by the work of actors and viewers. While the camera slowly travels along the hall, the roles of viewers and actors, of labour and performance, practice and theory keep oscillating. The film stages the “theatre” itself, not as yet another art form (with its specific institutional conditions, market rules and local aesthetic and historic limitations), but as a name for the allegoric space of encounter.


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