FI LM
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MLG McAllister Litho Glasgow Ltd.
SCOTTISH CREATIVE MEDIA NETWORK
CONTENTS Director's Introduction
5
Babe live + New Scottish Music Videos
76
Credits
6
Calendar
8
Big Fun In The Big Town + Hip Hop Shorts + after-party with Tomboy 77
Venues, Tickets and Info
10
Ladies of the Night
80
Delegate Info
11
Round Midnight
83
Awards
14
We Need to Disagree
89
Competitions Introduction
15
Transit Arts presents Soft Cells
99
Jury
16
Blueprint: Scottish Independent Shorts
102
Scottish Competition
17
Ten Years of FilmG
105
International Competition
25
Short Matters! 2018
108
25
Visible Cinema: Deaf Shorts Showcase
114
Family Shorts
116
Breakfast with the Filmmakers
Kevin Jerome Everson: now y’all have to look at us 40
Short Stuff: Parent & Baby Screening
121
Southeast Asian Cinema Introduction
50
Symposium: Archives, Activism, Aesthetics
124
Installations
50
Film Schools Day
126
Kalampag Tracking Agency: Experimental Films
SUPERLUX: Presenting for Success!
126
and Videos from the Philippines 51
Production Attic Short Film Pitch
127
Nguyễn Trinh Thi 54
Meet The Social
127
Death and Killing in Southeast Asia
56
Blazing Griffin Sessions
128
Apichatpong Weerasethakul
58
NFTS: Eva Riley Masterclass
128
Special Programmes Introduction
66
Scalarama: How to Run a Film Festival
128
SUPERLUX: Kevin Jerome Everson
129
Glasgow Film Crew Sessions
129
Index by title
132
Index by director
134
Opening Screening: What Makes a Glasgow Short? 67 Don Hertzfeldt: World of Tomorrow 1 & 2
70
NFTS Scotland presents Eva Riley
71
The Forgotten Films of Falconer Houston
74
glasgowfilm.org/gsff
#GSFF18
Facebook: @glasgowshortfilmfestival
Twitter: @GlasgowSFF
Instagram: @glasgowshortfilmfest
Glasgow Short Film Festival is an operating name of Glasgow Film Theatre (GFT). A company limited by guarantee, registered in Scotland No. 97369 with its registered office at 12 Rose Street Glasgow, G3 6RB. GFT is registered as a charity No. SC005932 with the office of the Scottish Charity Regulator.
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DIRECTOR'S INTRODUCTION At a recent conference held at the University of Glasgow, entitled Discourses of Care, it was proposed that the sensory, visceral experience of watching cinema parallels certain structures of care, and is itself a form of care. Care can be embedded within the formal features of cinema. Furthermore, cinema’s relationship to care is heightened by its communal nature. Philippa Lovatt, who has coordinated our Southeast Asian focus, explored these ideas at that conference with particular reference to the work of Apichatpong Weerasethakul. She suggested that Weerasethakul’s films encourage a structure of embodied accompaniment with a film, one that mirrors the rhythms and structures of palliative care. This notion of ‘embodied accompaniment’ runs through not just Apichatpong Weerasethakul’s work, but also that of Kevin Jerome Everson, particularly Park Lanes, which tracks an eight hour shift in a factory in real time. By screening Park Lanes during the course of a working day and Weerasethakul’s short films overnight, we’re putting this idea into experimental practice, serving lunch when Everson’s factory workers break for lunch, providing floor cushions and breakfast for an audience drifting in and out of Apichatpong’s dreamscapes. These durational experiences require endurance, and yet there is a certain vulnerability to the act of giving yourself over to cinema in a public space for such a long period of time. You place your faith and trust not only in the filmmaker but also in the other people in the room.
If cinema is a form of care, both restorative and community building, then what of viewing films online? Short film festival programmers recognise that online distribution is not the enemy; it offers great opportunities to both filmmakers and audiences, which leads to a healthier film culture. And yet it is solitary, shielded, anonymous – and therefore perhaps less humane? Our collaborative strand with Vienna Shorts and L’Alternativa, Barcelona, proposes that we have lost sight of the art of disagreement, as social media forums allow us – force us even – to become more entrenched, more polarised, less prepared to accept difference. Is there a connection between how we view films online and how we engage with others online? I don’t know the answer. But I believe passionately in the space created by a festival for dialogue between films, filmmakers and audiences. Many individuals and organisations have helped us build that space this year, and I hope they are all credited in the pages of this catalogue, but particular thanks should go to Glasgow Film and to Creative Scotland, to CCA and Civic House, to Blazing Griffin, returning to sponsor our Scottish Short Film Award for a second year, and to ABode, Merchant City Brewing and Auchentoshan amongst many others. And of course to everyone who participates in our community of short film for five days in March. Matt Lloyd GSFF Director
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CREDITS GLASGOW SHORT FILM FESTIVAL
GFT
Director: Matt Lloyd Programmer & Coordinator: Sanne Jehoul Assistant: Sandra Kinahan Press Officer: Ruth Marsh Technical Coordinator: Lewis Den Hertog Volunteer Coordinator: Tony Harris Driver: Bryan McGarvey Venue Coordinators: Oisín Kealy, Federico Lubrani, Gemma Lucha, Alicja Tokarska, Work Placements: Errika Zacharopoulou, Cameron Strachan
Chief Executive: Jaki McDougall Programme Director: Allison Gardner Finance/Commercial Director: David Gattens
Submission Viewers: Stuart Elliott, Oriana Franceschi, Marcus Jack, Sanne Jehoul, Nosheen Khwaja, Matt Lloyd, Paul Macgregor GSFF18 Trailer: Robin Haig and Lindsay McGee Designer: Martin Baillie Photographers: Beth Chalmers, Eoin Carey Festival Database: Dennis Pasveer, Filmchief
GUEST CURATORS Kalampag Tracking Agency: Merv Espina, Shireen Seno Nguyễn Trinh Thi: Philippa Lovatt Death and Killing in Southeast Asia: Tan Chui Mui We Need to Disagree: Daniel Ebner, Tess Renaudo Transit Arts presents Soft Cells: Marcus Jack Blueprint Scottish Independent Shorts: Hans Lucas Visible Cinema: David Ellington, Rich Warren Symposium: Philippa Lovatt
Programme Manager: Sean Greenhorn Children & Young People Coordinator: Annie McCourt Public Engagement Coordinator: Jodie Wilkinson Marketing Manager: Paul Gallagher Design & Digital Marketing Coordinator: Gavin Crosby Marketing & Press Coordinator: Margaret Smith Marketing Assistant: Clare Gunn GFF Manager: Rachel Fiddes GFF Programme Coordinator: Iain Canning GFF Industry Coordinator: Maija Hietala GFF Guest Coordinator: Sarah Emery GFF Print Traffic Coordinator: Magda Rotko Development Executive: Liana Marletta Development Manager: Lorna Sinclair Office Manager: Caroline Rice Finance Manager: Anne Thubron Finance Officer: Bryan Wilson Senior Front of House Manager: Angela Freeman Front of House Managers: Karlean Bourne, Lee MacPherson, Andrew Burrows Technical Manager: Malcolm Brown Technician & DCP Creation: Robbie Duncan Technician: David Wylie
CCA Programme Coordinator: Alex Misick Technical Manager: Kenny Christie Marketing & Communications: Julie Cathcart
CIVIC HOUSE James Farlam, Rob Morrison
INDY CINEMA GROUP Ian Brown, Craig Waddell, Fraser Edmond
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GLASGOW SHORT FILM FESTIVAL 2018
THANKS The GSFF volunteers The staff and volunteers of GFT Francis McKee and the staff of CCA Paul Smith and the staff of Saramago Cafe Bar Jennifer Armitage at Creative Scotland Naysun Alae-Carew, Lauren Lamarr and all at Blazing Griffin David Johnstone at WK Film Insurance James Kidd at Merchant City Brewing Eleanor Quigley at Finnieston Distillery Company Emily Cuthbert at YOURgb Events Yvonne Fleming at ABode Glasgow Jennifer Reynolds at Glasgow Film Office Ann-Christine Simke at the Goethe-Institut Glasgow Ewan Stewart at NFTS Scotland Emily Munro, Sheena MacDougall and all at NLS Moving Image Archive Nick Higgins and Sam Firth at UWS Creative Media Academy Tim Barker, Dimitris Eleftheriotis and Becca Harrison at University of Glasgow School of Culture & Creative Arts Nicole Yip and Eve Smith at LUX Scotland Matthew Cowan at Production Attic Rachel Hendry at Cryptic Marc Moscardini Christoffer Olofsson John Canciani Rich Warren Ryan Pasi Richard Weeks Ryan Shand Ben Taylor The Cinnamon Girls Madeleine Molyneaux Jamie Dunn Beth Allan at The Forest of Black Floraidh Forrest and Eilidh Rankin at CĂ nan Graphics Studio Film Hub Scotland Scottish Creative Media Network Go Short International Short Film Festival Nijmegen Hamburg International Short Film Festival Vienna Shorts Festival du nouveau cinĂŠma, Montreal Uppsala International Short Film Festival Internationale Kurzfilmtage Winterthur Cromarty Film Festival Short Waves Festival, Poznan Peter Jewell All our sponsors, filmmakers, speakers, performers, guests and jury members.
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GLASGOW SHORT FILM FESTIVAL 2018
15 30 45
12.00 15 30 45
13.00 15 30 45
14.00
TRAMWAY
GFT
INTERNATIONAL COMPETITION 3
SUPERLUX: PRESENTING FOR SUCCESS! DAY 2
PASSHOLDERS ONLY
INTERNATIONAL COMPETITION 6
15 30 45
17.00
15 30 45
17.00
15 30 45
17.00
CONV. WITH BLAZING GRIFFIN
SCOTTISH COMPETITION 2
15 30 45
22.00
15 30 45
22.00
NFTS SCOTLAND PRESENTS EVA RILEY
NGUYỄN TRINH THI
15 30 45
21.00
INTERNATIONAL COMPETITION 2
LADIES OF THE NIGHT
BLUEPRINT: SCOTTISH INDEPENDENT SHORTS
KALAMPAG TRACKING AGENCY
15 30 45
21.00
15 30 45
22.00
INTERNATIONAL COMPETITION 6
15 30 45
00.00
15 30 45
00.00
15 30 45
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ROUND MIDNIGHT 1: SEX
15 30 45
23.00
15 30 45
23.00
15 30 45
23.00
BABE + NEW SCOTTISH MUSIC VIDEOS
15 30 45 KEVIN JEROME EVERSON 1
15 30 45
19.00
20.00
TRANSIT ARTS PRESENTS SOFT CELLS
INTERNATIONAL COMPETITION 5
15 30 45
18.00
15 30 45
20.00
SCOTTISH COMPETITION 1
15 30 45
21.00
OPENING SCREENING: WHAT MAKES A GLASGOW SHORT?
15 30 45
20.00
WE NEED TO DISAGREE 1
15 30 45
19.00
15 30 45
19.00
INTERNATIONAL COMPETITION 1
15 30 45
18.00
15 30 45
18.00
SHORT MATTERS! 1
INTERNATIONAL COMPETITION 4
CALLING CARD
PRODUCTION ATTIC SHORT FILM PITCH
CIVIC HOUSE SHORT TO FEATURE
NFTS SCOTLAND: EVA RILEY MASTERCLASS
MEET THE SOCIAL
15 30 45
16.00
PASSHOLDERS ONLY
SCOTTISH COMPETITION 3
15 30 45
15.00
SOUTHEAST ASIAN CINEMA SYMPOSIUM DAY 1
PASSHOLDERS ONLY
SCOTTISH COMPETITION 1
15 30 45
11.00
KEVIN JEROME EVERSON: PARK LANES
FILM SCHOOLS DAY
SUPERLUX: PRESENTING FOR SUCCESS! DAY 1
CCA CLUBROOM
15 30 45
15 30 45
SCOTTISH COMPETITION 3
15 30 45
16.00
15 30 45
16.00
PASSHOLDERS ONLY
15 30 45
15.00
15 30 45
15.00
INSTALLATION: EVERYDAY’S THE SEVENTIES
SCOTTISH COMPETITION 2
15 30 45
14.00
15 30 45
14.00
PASSHOLDERS ONLY
15 30 45
13.00
15 30 45
13.00
INSTALLATION: EVERYDAY’S THE SEVENTIES
10.00
09.00
15 30 45
12.00
15 30 45
12.00
SHORT STUFF: PARENT AND BABY
15 30 45
11.00
SCOTTISH COMPETITION 1
15 30 45
15 30 45
11.00
PASSHOLDERS ONLY
10.00
15 30 45
15 30 45
15 30 45
09.00
10.00
09.00
CCA INTERMEDIA GALLERY
CCA THEATRE
CCA CINEMA
THU FRI 16 15 MARCH
GFT
CIVIC HOUSE
CCA CLUBROOM
CCA INTERMEDIA GALLERY
CCA THEATRE
CCA CINEMA
THU 15 MARCH
GFT
WED 14 MARCH
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GFT
CIVIC HOUSE
CCA INTERMEDIA GALLERY
CCA CLUBROOM
CCA THEATRE
CCA CINEMA
SUN 18 MARCH
KELVIN HALL THEATRE
GFT
CIVIC HOUSE
CCA INTERMEDIA GALLERY CCA CREATIVE LAB
CCA THEATRE
CCA CINEMA
SAT 17 MARCH
15 30 45
15 30 45
15 30 45
11.00
15 30 45
12.00
10.00
15 30 45
09.00
15 30 45
15 30 45
14.00
INTERNATIONAL COMPETITION 1
GLASGOW FILM CREW SCREENWRITING LAB
15 30 45
12.00
AW DISCUSSION
INTERNATIONAL COMPETITION 2
INTERNATIONAL COMPETITION 5
15 30 45
18.00
SCALARAMA: HOW TO RUN A FILM FESTIVAL
15 30 45
20.00
APICHATPONG WEERASETHAKUL 4
15 30 45
19.00
15 30 45
20.00
WORLD OF TOMORROW 1&2
KEVIN JEROME EVERSON 3
15 30 45
19.00
INTERNATIONAL COMPETITION 3
SHORT MATTERS! 3
15 30 45
17.00
SCOTTISH COMPETITION 3
APICHATPONG WEERASETHAKUL 3
INTERNATIONAL COMPETITION 6
INSTALLATION: EVERYDAY’S THE SEVENTIES
FAMILY ANIMATION WORKSHOP
15 30 45
16.00
WE NEED TO DISAGREE 3
15 30 45
15.00
GLASGOW FILM CREW: 300 REJECTIONS THE FORGOTTEN FILMS OF FALCONER HOUSTON
15 30 45
18.00
SHORT MATTERS! 2
15 30 45
17.00
SUPERLUX WORKSHOP: KEVIN JEROME EVERSON
APICHATPONG WEERASETHAKUL 2
15 30 45
14.00
VISIBLE CINEMA: DEAF SHORTS SHOWCASE
15 30 45
13.00
APICHATPONG WEERASETHAKUL 1
FAMILY SHORTS
15 30 45
11.00
15 30 45
16.00
WE NEED TO DISAGREE 2
15 30 45
15.00
INSTALLATION: EVERYDAY’S THE SEVENTIES
TEN YEARS OF FILMG
KEVIN JEROME EVERSON 2
15 30 45
13.00
SOUTHEAST ASIAN CINEMA SYMPOSIUM DAY 2
PASSHOLDERS ONLY
INTERNATIONAL COMPETITION 5
BREAKFAST WITH THE FILMMAKERS
10.00
09.00 15 30 45
22.00
15 30 45
00.00
APICHATPONG WEERASETHAKUL – ALLNIGHTER
ROUND MIDNIGHT 2: VIOLENCE
15 30 45
23.00
15 30 45
22.00
AWARD WINNERS
15 30 45
21.00
INTERNATIONAL COMPETITION 4
15 30 45
23.00
15 30 45
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BIG FUN IN THE BIG TOWN + HIP HOP SHORTS
DEATH AND KILLING IN SOUTHEAST ASIA
15 30 45
21.00
VENUES, TICKETS AND INFO CIVIC ST
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Kelvin Hall (not on map) 1445 Argyle Street, G3 8AW www.kelvinhall.org.uk 0141 276 1450
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Glasgow Film Theatre 12 Rose Street, G3 6RB www.glasgowfilm.org 0141 332 6535
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DELEGATE INFO STANDARD PRICE TICKETS £7.00 (£5.00 concessions) Concessions apply to children under 16, full-time students, over-60s, Jobseekers Allowance or Income Support recipients and registered disabled people. GFT CineCard and 15–25 Card discounts apply. Please produce proof of eligibility when purchasing or collecting tickets. Some events are individually priced or free of charge – see online listings for details.
CERTIFICATION Films not certified by the BBFC are marked N/C and accompanied by an age recommendation e.g. N/C 15 + (suitable for ages 15 and older, Screenings no-one under 15 will be admitted). marked with this icon are captioned for deaf and hard-of-hearing audiences, with BSL interpreters for Q&As.
HOW TO BUY IN ADVANCE Tickets can be purchased from glasgowfilm.org/gsff. No booking fee. Tickets can be purchased online until one hour before the screening. Alternatively, tickets can be purchased from Glasgow Film Theatre box office, in person or by telephone (£1.50 booking fee applies to telephone bookings). Advance tickets can be collected from Glasgow Film Theatre up until 9pm the day before the performance. Please note that advance purchases can only be made online at glasgowfilm.org/gsff or at GFT. DURING THE FESTIVAL Between Wednesday 14 March and Sunday 18 March, tickets for any GSFF event can be purchased or collected at the screening venue.
The GSFF Guest Desk is situated in Civic House, and is open from 12.00 until 20.00 on Wednesday 14 March, from 10.00 until 22.00 on Thursday 15 to Saturday 17 March, and from 10.00 until 20.30 on Sunday 18 March. Guests and delegates are welcome to attend any public screening or event, subject to availability. Collect tickets from the Guest Desk on the day of the screening. Please note that there is a limited guest allocation for each screening, and any unclaimed tickets will be returned to the box office for public sales one hour before the screening. After this time delegates may be obliged to buy a public ticket. There are several delegate-only screenings of international and Scottish competition programmes – see Calendar (pages 8–9). No ticket required, just show your pass for entry. Entry to after parties at Civic House does not require a ticket, just show your pass on the door, subject to availability.
INTERNET ACCESS There is free Wi-Fi throughout CCA, Civic House and GFT.
VIDEO LIBRARY Guests and full festival pass holders are welcome to make use of the GSFF18 Video Library, which can be found at Glasgow Film Theatre, upstairs in the Project Room. The Video Library holds most of the films in the programme. A booking system will operate at busy times, with a maximum viewing session of 2 hours. Opening hours are as follows: Wednesday 14 March 13.00 — 18.15 Thursday 15 March 10.30 — 21.00 Friday 16 March 10.30 — 21.00 Saturday 17 March 11.00 — 21.00 Sunday 18 March 12.00 — 20.00
Please see www.glasgowfilm.org for full terms and conditions.
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Competitions
AWARDS BILL DOUGLAS AWARD FOR INTERNATIONAL SHORT FILM Named in honour of Scotland’s greatest filmmaker, our international prize will be awarded to the film that best reflects the qualities found in the work of Bill Douglas: honesty, formal innovation and the supremacy of image and sound in cinematic storytelling. The award carries a cash prize of £1,000.
AWARD WINNERS Sunday 18 March (20.30) Civic House // 2h // N/C 18+ First chance to catch the prize-winning films of Glasgow Short Film Festival 2018. We will announce and screen the recipients of the jury awards, as well as the films voted the favourite of the audience in each competition, and maybe a few surprises. Then join us for the GSFF18 afterparty, featuring a live set from Pleasure Pool.
2017 winner: Green Screen Gringo | Douwe Dijkstra | The Netherlands, Brazil 2016 winner: A Short Guide to Re-entry | Anwar Boulifa | UK 2015 winner: Shipwreck | Morgan Knibbe | The Netherlands
INTERNATIONAL AUDIENCE AWARD Decided by audience vote. 2017 winner: Ten Metre Tower | Axel Danielson, Maximilien Van Aertryck | Sweden 2016 winner: A Short Guide to Re-entry | Anwar Boulifa | UK 2015 winner: World of Tomorrow | Don Hertzfeldt | USA
SCOTTISH SHORT FILM AWARD The Scottish Short Film Award honours inspiration and innovation in new Scottish cinema. Thanks to the generous support of independent production company Blazing Griffin, the award carries a cash prize of £1,500. 2017 winner: Flow Country | Jasper Coppes | UK, The Netherlands 2016 winner: Isabella | Duncan Cowles & Ross Hogg | UK 2015 winner: Directed By Tweedie | Duncan Cowles | UK
SCOTTISH AUDIENCE AWARD Decided by audience vote, the winner of this award will receive a commission to make the 2019 festival trailer. 2017 winner: Hula | Robin Haig | UK 2016 winner: Dear Peter | Scott Willis | UK 2015 winner: Dropping Off Michael | Zam Salim | UK
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GLASGOW SHORT FILM FESTIVAL 2018
SCOTTISH AND INTERNATIONAL COMPETITIONS 1,700 films were submitted to the festival this year, from which we drew 50 titles for the Scottish and International competitions. Echoing this year’s Apichatpong Weerasethakul all-nighter, the international competition selection seems to return repeatedly to dreamscapes. In films from Portugal, Ethiopia, France and the UK, apparently mundane settings give way to flickering semi-conscious states of torpid sensuality or inexplicable fear. The beauty of short film is that it doesn’t need to make sense. Many of the films that spoke to us this year revel in absurdity or enigma. Films from Germany and Portugal feature heavily in the selection. From Portugal, Flores (Jorge Jácome) and Mirage My Bros (Diogo Baldaia) exemplify this blurred distinction between level-headed realism and intoxicating fantasy, whilst German animations Sog (Jonatan Schwenk) and Ugly (Nikita Diakur, Redbear Easterman) – are nightmarish visions. The Train, The Forest sees the welcome return of GSFF regular Patrick Buhr. His film is a fascinating departure from his previous witty and loquacious films, a wordless and unsettling CG animation of a phenomenon witnessed from a moving train. Nicolaas Schmidt’s Final Stage will divide audiences just as it divided us, an audacious experiment set in Europe’s largest mall. Other previously screened filmmakers returning to Glasgow include Mahdi Fleifel (A Drowning Man), Stefanie Kolk (Harbour), Niki Lindroth von Bahr (The Burden) and Michael Arcos (This My Favourite Mural). Morgan Knibbe, the winner of the 2015 Bill Douglas Award, has given us the International Premiere of his new documentary, the deeply affecting The Atomic Soldiers, whilst Hungarian animator Réka Bucsi’s new film Solar Walk comes to us hot from its award winning World Premiere at the Berlinale. And for the second time we are staging the World Premiere of a short by Cuban director Juan Pablo Daranas Molina. His classical 37 minute film Twilight was a favourite of the 2015 selection, whilst this year’s Angela is formally very different, a semi-documentary portrait shot on the streets of New York City.
In the Scottish competition we welcome back previous award winners James Price (Chibbed) and Duncan Cowles (Taking Stock), and familiar filmmakers such as Catriona MacInnes (Howls) and Rosie Toner (I Am Not). Turner Prize winning Duncan Campbell’s The Welfare of Tomás Ó Hallissy features alongside films by new and exciting talents such as Daniel Cook (The King and I), Yulia Kovanova (Plastic Man) and Alia Ghafar (Salt and Sauce). Some of the most remarkable films come from film schools, including Syria-shot poetic documentary Homage to Kobane by Soran Qurbani and Juri Krutii’s impressively ambitious convent drama Eudaimonia. Young Fathers’ National Portrait Gallery commission Random White Dudes is a succinct and mischievous critique of white privilege – the ridiculously disproportionate reaction it received when first released illustrates just how important a short film it is. Across both competitions a little over a third of the films were directed by women, a disappointing drop from last year’s 47%. We view films blind, our selection panel is gender-balanced, and we are actively approaching more women filmmakers with the invitation to submit their films. At the same time we continue to reach out to regions and communities under-represented in our programme. But we acknowledge that there is always more to be done to build greater diversity in our selection. We remain profoundly grateful to anyone who makes work and chooses to submit it to our festival. This selection does not represent the ‘best’ of the films we viewed, whatever that means, rather these films lingered in our minds beyond our viewings and discussions, playing off one another, provoking further discussions. We hope they excite you as much as they do us.
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JURY DOUWE DIJKSTRA Douwe Dijkstra is a filmmaker and video artist from the Netherlands. He studied Illustration Design at ArtEZ. His humorous and socially engaged work combines film, animation and VFX, and includes Démontable (2014), Voor Film (2015) and Green Screen Gringo (2016). As a co-founder of the 33 1/3 collective, he intertwines theatre productions and video projections. His films have been awarded the Grand Prix in Clermont Ferrand’s Labo Competition, the Bill Douglas Award for International Short Film at Glasgow Short Film Festival, Best Contemporary Experimental Short at Sapporo International Short Film Festival, the Confrontations award at Interfilm Berlin and the Norman Award at Stuttgarter Filmwinter.
DANIEL EBNER Daniel Ebner is the co-founder and Artistic Director of VIS Vienna Shorts, Austria's festival for short film, animation, and music video. He has a Master's degree in Political Science and studied Cultural Studies and Film Studies in Vienna and Berlin. Daniel has been cultural editor and film critic at APA Austrian Press Agency for many years. He is the co-producer of the football short film reel Eleven Minutes (A/CH 2008), a film advisor for the city of Vienna and the state of Vorarlberg, co-founder of the Association of Austrian Film Festivals, and also works as a film and art curator.
MADELEINE MOLYNEAUX Madeleine Molyneaux is an independent creative producer based in New York and Los Angeles. Through Picture Palace Pictures, founded in 2004, she works closely with emerging and established artists, both in North America and abroad, to develop, produce, and represent films, video projects, installations/exhibitions and curatorial initiatives. She is engaged in the realization of short and long form work that defies easy categorization and co-exists within experimental film, creative non-fiction, genre narrative and contemporary art contexts. She regularly works with Kevin Jerome Everson, and recently produced Bill Morrison’s critically acclaimed feature Dawson City: Frozen Time (2016).
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GLASGOW SHORT FILM FESTIVAL 2018
SCOTTISH COMPETITION SCOTTISH COMPETITION 1: TAKE MY HAND Thursday 15 March (10.00) passholders only CCA Theatre // 1h30m // N/C 15+ Thursday 15 March (18.45) CCA Theatre // 1h45m // N/C 15+ Friday 16 March (11.30) passholders only CCA Cinema // 1h30m // N/C 15+
SCOTTISH COMPETITION 2: THE POINT IS TO CHANGE IT Thursday 15 March (13.30) passholders only CCA Theatre // 1h30m // N/C 15+ Friday 16 March (18.45) CCA Theatre // 1h45m // N/C 15+
SCOTTISH COMPETITION 3: FOREIGN TO THE WORLD Thursday 15 March (15.45) passholders only CCA Theatre // 1h30m // N/C 15+ Friday 16 March (14.45) passholders only CCA Cinema // 1h30m // N/C 15+ Saturday 17 March (17.15) CCA Theatre // 1h45m // N/C 15+
Sponsored by
GLASGOW SHORT FILM FESTIVAL 2018
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SCOTTISH COMPETITION 1: TAKE MY HAND
NOT REQUIRED BACK UK // 2017 // 6m An abstract portrait of a contractor recently made redundant from the declining oil industry. Director: Peter Marsden Producer: Hannah Currie Screenplay: Peter Marsden Cinematography: Gavin White Music: Clemens Bacher Sound: Keith Duncan Director's filmography: First film Contact: pete@luckyme.net
THE WELFARE OF TOMÁS Ó HALLISSY Ireland, UK // 2016 // 30m SCOTTISH PREMIERE A portrait of a society on the brink of irreversible change seen through the eyes of two American anthropologists who arrive to study this dying culture. A speechless 10 year-old boy sits on the cusp of the old world and the new. Director: Duncan Campbell Producer: Patrick Campbell Cinematography: Rina Yang Director's filmography: It For Others (2012), Arbeit (2011), Make It New John (2009), Bernadette (2008), Oh Joan, No (2006), Falls Burns Malone Fiddles (2004) Contact: patrick@nakbafilmworks.com
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GLASGOW SHORT FILM FESTIVAL 2018
MAR A THACHAIR DO DH’FHEAR A SGUR A DHOL DHAN EAGLAIS THE MAN WHO STOPPED GOING TO CHURCH UK // 2017 // 5m The story of a godly young man, disillusioned in the wake of a betrayal of trust. In the midst of his conflict, a stranger invites him on a journey to discover the truth for himself. Director: John Murdo MacAulay Screenplay: Laura MacLennan Cinematography: Paul Martin Director's filmography: Briste (2015) Contact: john@corranmedia.com
DAMNED DOLLS
I AM NOT
BLINDSIDED
UK // 2017 // 6m
UK // 2017 // 7m WORLD PREMIERE
UK // 2017 // 24m WORLD PREMIERE
Cult Leader Faye (16) and her follower Stella (15) leave behind their friends and community to make their final preparations before a fabled asteroid hits the earth to end all humanity.
When Will is dumbfounded by (what he thinks is) the worst news imaginable, he and an unlikely friend embark on an impulsive road trip to the highlands, discovering along the way that problems are usually in the eye of the beholder.
Monica and her care team battle to recover and reconnect with RC, a lost adult-child of the care system who has, for the moment, lost the plot. Director: Sara Jane Kirkwood Producer: Frances Higson Cinematography: Kirstin McMahon Director's filmography: First film Contact: franceshigson@gmail.com
Director: Rosie Toner Producer: Kathy Speirs Screenplay: Rosie Toner Cinematography: Kirstin McMahon Editing: Evan Crichton Music: Atzi Muramatsu Director's filmography: (Selected) Wee Three (2017), Edie's POV (2006), Teenage Warhol (2006), Dansette (2004), Homesick (2000) Contact: kathyspeirs@gmail.com
Director: Tom Gentle Producer: Tom Gentle Screenplay: Tom Gentle Cinematography: Carlo D'Alessandro Editing: Sean McNamee Sound: William Cory Director's filmography: In the Fall (2018), Uhuru (2016), Lost Girl (2016), The Maidan Protests (2015) Contact: tomgentle8@gmail.com
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SCOTTISH COMPETITION 2: THE POINT IS TO CHANGE IT
1745
RANDOM WHITE DUDES
UK // 2017 // 18m
UK // 2017 // 4m
Emma and Rebecca Atkin are running: literally, running blindly into the highland wilderness, away from slavery in the house of their owner, Master Andrews. They must use all of their courage and strength to survive, unite, and stay free.
Mercury Prize-winning band Young Fathers respond to Looking Good, the Scottish National Portrait Gallery's exhibition exploring male image and identity. Issues of privilege and inequality, as well as conventions of historic portraiture, are confronted.
Director: Gordon Napier Producer: John McKay Screenplay: Morayo AkandĂŠ Director's filmography: Anam (2015), Tide (2014), Aquarium (2013), La Chasse (2013), My Name Was Jane (2012) Contact: johndmckay1@virginmedia.com
Director: Young Fathers Screenplay: Kayus Bankole, Tim Brinkhurst Cinematography: Black Barn Media, G Hastings Editing: Black Barn Media Music: Young Fathers Director's filmography: First film Contact: jleslie@npg.org.uk
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GLASGOW SHORT FILM FESTIVAL 2018
HOMAGE TO KOBANE
CHIBBED
EUDAIMONIA
UK // 2017 // 13m SCOTTISH PREMIERE
UK // 2017 // 5m WORLD PREMIERE
UK // 2018 // 24m SCOTTISH PREMIERE
A goodbye letter from Narin, a nineteen year old Syrian fighter, to her mother, taking us to a destroyed city with lost memories buried under rubble.
A young man's raw, visceral journey through Glasgow in the aftermath of a violent incident.
Isolated from the outside world, a small group of women follow the simple yet cruel Order of Mother Innocence. Young Sister Grace's world is irrevocably altered after her friend Hope’s disappearance.
Director: Soran Qurbani Director's filmography: Mosul a City with Three flags (2017), Bread is gone (2017), Women Who Embitter ISIS (2016) Contact: soranq@gmail.com
Director: James Price Producer: Aidan O'Mara, Joy Montgomery, Mark Fraser Screenplay: James Price Cinematography: Sefa Ucbas Editing: Mark Fraser Sound: Jonathan McLoone Director's filmography: Concrete and Flowers (2015), We Are Northern Lights (2012) Contact: Jamesprice33@outlook.com
Director: Juri Krutii Producer: Nell Cunningham Screenplay: Nell Cunningham, Juri Krutii Cinematography: Claire Murphy, Iguacel Cuirial Editing: Natalie McGowan Sound: Daniel McGurty Director's filmography: Ascension (2015), ¡PUTA GUERRA! (2014) Contact: j.krutii23@gmail.com
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SCOTTISH COMPETITION 2: THE POINT IS TO CHANGE IT (continued)
REFUGE
SALT & SAUCE
UK // 2017 // 4m WORLD PREMIERE
UK // 2017 // 11m
A future civilisation has travelled into the present to escape famine, war and global warming. Since arriving, their government has displaced families. One woman seeks retribution. Director: Simon Bishopp Director's filmography: Space Raider (2016), The Robot & the Viking (2016) Contact: simonbishopp@yahoo.co.uk
Stuck in a post-high-school limbo, Tammy works long days in the family chip shop while deciding what to do next with her life. She soon realises that she can't keep avoiding her future. Director: Alia Ghafar Producer: Clara Mumford-Turner Screenplay: Alia Ghafar Cinematography: Beth Woodruff Editing: Mario Cruzado Sound: James Wright Director's filmography: First film Contact: aliaghafar@live.co.uk
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GLASGOW SHORT FILM FESTIVAL 2018
SCOTTISH COMPETITION 3: FOREIGN TO THE WORLD
TONY AND THE BULL
HOWLS
PLASTIC MAN
UK // 2017 // 16m WORLD PREMIERE
UK // 2017 // 16m
UK // 2017 // 11m
A young mum runs away with her delicate son to a woodland hut community. When she loses hope that the community will accept them, she loses control, whilst her son finds solace in a mysterious wolf.
Breaking from daily reality, a man transforms into Plastic Man – armed with chemicals, ready to set the landscape on fire. Is he the destroyer of Nature, or the voice of its resilience?
A small window into the private life of Tony and his companion/pet Scrunch, a fully-grown Highland bull. Director: John McFarlane Producer: Geraldine Geraghty Cinematography: Kirstin McMahon Editing: Martin Mitchell Director's filmography: First film Contact: geraldine.geraghty@icloud.com
Director: Catriona MacInnes Producer: Samm Haillay Screenplay: Catriona McInnes Cinematography: Graham Boonzaaier Editing: Karel Dolak, Timo Langer Music: Parc En Ciel Sound: Rob Walker Director's filmography: A Cuillin Rising (2011), I’m In Away From Here (2008)
Director: Yulia Kovanova Producer: Tracey Fearnehough Cinematography: Ian Dodds Editing: Anthea Harvey Sound: Lars Koens Director's filmography: First film Contact: eve@scottishdocinstitute.com
Contact: thirdbypass@gmail.com
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SCOTTISH COMPETITION 3: FOREIGN TO THE WORLD (continued)
THE KING AND I
TAKING STOCK
UK // 2017 // 32m
UK // 2017 // 4m SCOTTISH PREMIERE
A glimpse into the life of Graham Croan Bee, eccentric and artist. Graham’s home in Edinburgh’s New Town resembles an exotic grotto, and runs on a time zone different from the rest of society. Director: Daniel Cook Director's filmography: V – Faux Pas (2017) Contact: colvincook@gmail.com
Using his failed attempts at creating profitable stock footage, a filmmaker reflects on the absurd, mundane and funny side of being trapped inside your own head as an out of work, self-employed freelancer. Director: Duncan Cowles Music: Anthony Ing Director's filmography: Alexithymia (2017), Isabella (2015), Directed by Tweedie (2014), Radio Silence (2013), Soft Toffee (2013), The Lady with the Lamp (2012) Contact: dcowles@live.co.uk
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GLASGOW SHORT FILM FESTIVAL 2018
INTERNATIONAL COMPETITION INTERNATIONAL COMPETITION 1: PAINT YOUR OWN REALITY
INTERNATIONAL COMPETITION 5: TREADING WATER
Thursday 15 March (18.30) GFT Cinema 3 // 1h45m // N/C 15+
Friday 16 March (18.30) GFT Cinema 3 // 1h45m // N/C 15+
Saturday 17 March (13.15) GFT Cinema 3 // 1h45m // N/C 15+
Saturday 17 March (11.15) passholders only GFT Cinema 3 // 1h30m // N/C 15+
INTERNATIONAL COMPETITION 2: FREEDOM OF CHOICE
Sunday 18 March (13.15) GFT Cinema 3 // 1h45m // N/C 15+
Thursday 15 March (20.45) GFT Cinema 3 // 1h45m // N/C 15+
INTERNATIONAL COMPETITION 6: WHERE YOU LOOK FROM
Saturday 17 March (15.15) CCA Theatre // 1h45m // N/C 15+
Friday 16 March (10.45) passholders only GFT Cinema 3 // 1h30m // N/C 15+
INTERNATIONAL COMPETITION 3: DREAM OF A GLORIOUS RETURN Friday 16 March (13.15) GFT Cinema 3 // 1h45m // N/C 15+
Friday 16 March (20.45)Â GFT Cinema 3 // 1h45m // N/C 15+ Sunday 18 March (15.30) GFT Cinema 3 // 1h45m // N/C 15+
Saturday 17 March (18.30) GFT Cinema 3 // 1h45m // N/C 15+
INTERNATIONAL COMPETITION 4: PARCHED LAND Friday 16 March (15.30) GFT Cinema 3 // 1h45m // N/C 15+ Saturday 17 March (20.45) GFT Cinema 3 // 1h45m // N/C 15+
BREAKFAST WITH THE FILMMAKERS Saturday 17 March (13.00) Civic House // 2h Kickstart your Festival Saturday by participating in an informal discussion with some of the international filmmakers attending, led by festival director Matt Lloyd. Coffee and pastries provided.
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INTERNATIONAL COMPETITION 1: PAINT YOUR OWN REALITY
FLORES Portugal // 2017 // 26m UK PREMIERE In a natural crisis scenario, the entire population of the Azores is forced to evacuate due to an uncontrolled plague of hydrangeas, a common flower in these islands. Director: Jorge Jácome Producer: BlackMaria Cinematography: Marta Simões Editing: Jorge Jácome Music: Terry Riley Sound: Marco Leão Director's filmography: Fiesta Forever (2016), A GUEST + A HOST = A GHOST (2015), Plutão (2013) Contact: portugalfilm@indielisboa.com
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GLASGOW SHORT FILM FESTIVAL 2018
SOLAR WALK
CENTAUR
SWAMP
Denmark // 2018 // 21m UK PREMIERE
Argentina // 2016 // 14m SCOTTISH PREMIERE
TIERRA MOJADA
Individuals and their creations on a journey through time and space. A melancholic acceptance that chaos is both beautiful and cosmic.
A Greco-creole grassroots political western set among the palm trees and the digital antennas of the soy-producing Argentine pampas. When the outlaw gaucho summons the spirit of his dead brother, drama is unleashed and revenge violates the idyll: an eye for an eye, a man for a beast.
Director: Réka Bucsi Producer: Morten Thorning Screenplay: Réka Bucsi Music: Mads Vadsholt Sound: Péter Benjámin Lukács Director's filmography: Don't Know Where Going (2016), LOVE (2016), Symphony no. 42 (2014) Contact: zsofi@daazo.com
Director: Nicolás Suárez Producer: Mariana Luconi Cinematography: Federico Lastra Editing: Sebastián Agulló Music: Gabriel Chwojnik Sound: Paula Ramírez, Diego Martínez Director's filmography: Hijos nuestros (2015) Contact: nicola_suarez@yahoo.com.ar
Colombia // 2017 // 17m UK PREMIERE Oscar and his family live in a humble, countryside house threatened by a massive hydroelectric project. In the face of the uncertainty and sorrow of being forced to leave the land where they were born, his grandparents decide to end it all. Director: Juan Sebastián Mesa Producer: Alexander Arbelaez Osorio, Jose Manuel Duque López Cinematography: David Correa Editing: Juan Cañola Sound: Daniel Vasquez Director's filmography: Los Nadie (2016), Kalashinikov (2013), Maquillando el Silencio (2009) Contact: monocicloaudiovisual@gmail.com
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INTERNATIONAL COMPETITION 2: FREEDOM OF CHOICE
FINAL STAGE [THE TIME FOR ALL BUT SUNSET – BGYOR] Germany // 2017 // 32m UK PREMIERE Enjoy the Party, Enjoy your Night, Enjoy the Sun, Enjoy your Freedom, Enjoy the Love, Enjoy your Life, Enjoy the Colors, Enjoy your Style. A teenage boy in Europe's Largest Shopping Mall sheds lonely tears over someone. He senses something is wrong – brutalism, consumerism, sadness. Director: Nicolaas Schmidt Director's filmography: Autumn (2015), 36KFRGB – 29th Special: The Manifestation Of Capitalism In Our Life Is The Sadness (2015), Leaving Monochromia (2014), 36000 Frames RGB (2013/2014), Break (2013), Forever (2012), Compare (2011/2016) Contact: mail@nicolaasschmidt.de
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GLASGOW SHORT FILM FESTIVAL 2018
EDEN
THE RABBIT HUNT
France // 2017 // 6m
USA // 2017 // 12m SCOTTISH PREMIERE
E and A are bored to death in the Garden of Eden. One night, they run off in God's cabriolet. Early in the morning, God notices their absence. Furious, he summons his henchman Dinosaur, and sends him after the fugitives. Director: Julie Caty Producer: Ron Dyens Director's filmography: First film Contact: distribution@sacrebleuprod.com
Since the beginning of the twentieth century, a particular initiation rite has been practised in a small Florida town for boys on the cusp of manhood. While the sugarcane fields are burning, the young men come to the edges of the fields to capture the fleeing rabbits. Director: Patrick Bresnan Producer: Ivete Lucas Director's filmography: Roadside Attraction (2017), The Send-Off (2016), One Big Misunderstanding (2016) Contact: dora.nedeczky@gmail.com
THIS MY FAVORITE MURAL
THE BURDEN
THE DÉRIVE
MIN BÖRDA
USA // 2017 // 11m INTERNATIONAL PREMIERE
Sweden // 2017 // 14m SCOTTISH PREMIERE
Iran // 2017 // 8m SCOTTISH PREMIERE
An amateur German filmmaker becomes infatuated with a tyre shop's mural. She decides to find the artist who painted the mural, turning her search into her first documentary film. As she investigates, she becomes entangled in tyre shop mysteries.
A dark musical is enacted in a modern market place, situated next to a large freeway. The employees of various commercial venues deal with boredom and existential anxiety by performing cheerful musical turns. The apocalypse is a tempting liberator.
Director: Michael Arcos Producer: Betsy Holt Editing: Michael Arcos Sound: George-Michael Parker Director's filmography: Fear of Monkeys (2017), The Event (2016), Lucas Camry Alex (2016), SMUK TRIPTYCH (2016), CHECK SURROUNDINGS FOR SAFETY (2016), NO PARENTS (2015), Biscayne World (2014), Dream Throat (2014), DEEP DARK animation series: My House(2014), White Kitten and the Puppet (2011), Garfield Estate Sale (2011), Greedy Fiji (2009), A Squid Who Likes Popcorn As Much As I Do (2007), Mascara Peel (2006), A Lesson Better Written (2005), A Guinea Pig Past The Hour (2003), Angel Eyes 2 (2002), Sugar Water (2001)
Director: Niki Lindroth von Bahr Producer: Kalle Wettre Screenplay: Niki Lindroth von Bahr Cinematography: Niki Lindroth von Bahr Editing: Niki Lindroth von Bahr Music: Hans Appelqvist Sound: Hans Appelqvist Animation: Anna Mantzaris, Dockhus Animation, Eirik Gronmo Bjornsen, Johanna Schubert, Niki Lindroth von Bahr
A dancer moves among the people in an old bazaar in Tehran capturing the responses and reactions. Dance is prohibited in Iran. Director: Tanin Torabi Producer: Tanin Torabi Cinematography: Milad Sanaei Music: Faran Fahimi Director's filmography: Ruby (2017), Invisible Point (2016), Beyond the Frames (2015), Immensity (2014) Contact: tanin.torabi92@gmail.com
Director's filmography: Bath House (2014), Tord and Tord (2010), A Night in Moscow (2006) Contact: jing.haase@filminstitutet.se
Contact: michaelarcosmichael@gmail.com
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INTERNATIONAL COMPETITION 3: DREAM OF A GLORIOUS RETURN
RUBBER COATED STEEL Lebanon, Germany // 2017 // 22m SCOTTISH PREMIERE In May 2014, two unarmed Palestinian teens were killed by Israeli soldiers on the West Bank. Abu Hamdan conducts an audio analysis to ascertain whether rubber or live bullets were used. The film centres on the gunfire, yet no shots are heard. Director: Lawrence Abu Hamdan Director's filmography: The All-Hearing (2014), Double-take: Leader Of The Syrian Revolution Commanding A Charge (2014) Contact: lawrenceabuhamdan@gmail.com
YOUR FATHER WAS BORN A 100 YEARS OLD AND SO WAS THE NAKBA زي النكبة، سنة١٠٠ ابويك خلق عمره Palestine // 2017 // 7m EUROPEAN PREMIERE Oum Amin, a Palestinian grandmother, returns to her hometown Haifa through the use of Google Maps Streetview. Today, this is the only way she can see Palestine. Director: Razan AlSalah Sound: Victor Breiss Director's filmography: First film Contact: alsalah.razan@gmail.com
A DROWNING MAN Denmark, UK, Greece // 2017 // 15m Alone and far from home, a young man makes his way through a strange city. Surrounded by predators, he is forced to make compromises merely to survive. His life of exile grows one day longer. Director: Mahdi Fleifel Producer: Maria Drandaki, Patrick Campbell, Signe Byrge Director's filmography: Men In The Sun (2018), A Man Returned (2016), Xenos (2014), Visit Palestine (2012), A World Not Ours (2012), Four Weeks (2009), Arafat & I (2008), The Writer (2007), Harrisons Monday’s Arms (2006), Hamoudi & Emil (2004), Shadi In The Beautiful Well (2003) Contact: festival@salaudmorisset.com
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GLASGOW SHORT FILM FESTIVAL 2018
THE TRAIN, THE FOREST
HARBOUR
ANGELA
Germany // 2017 // 4m UK PREMIERE
Netherlands // 2017 // 13m SCOTTISH PREMIERE
USA // 2018 // 13m WORLD PREMIERE
A train ride reveals strange incidents.
Two industrial painters, a Moldovan and a Croatian, are at work on a deserted pier in the Rotterdam harbour when they discover a dead body floating in the water. They are not in a position to call the police. While trying to find another solution, they reluctantly start their day’s work.
Ángela recently migrated from Cuba to New York City. As she tries to find her place in a different culture, her dreams, hopes, and fascination with this new world conflict with her loneliness and longing for her distant family.
Director: Patrick Buhr Director's filmography: Something About Silence (2015), What I Forgot To Say (2014) Contact: b.patrick.b@gmx.de
Director: Stefanie Kolk Producer: Sabine Veenendaal, Jeroen Beker Screenplay: Stefanie Kolk Cinematography: Roy van Egmond Editing: Maarten Ernest Production Design: Myrte Beltman Music: Stavros Markonis Sound: Jacob Oostra
Director: Juan Pablo Daranas Molina Producer: Idalmis García, Juan Pablo Daranas Molina Editing: Juan Pablo Daranas Molina Music: Juan Pablo Daranas Molina Director's filmography: Four Doors (2016), Twilight (2015), Yunaisy (2014) Contact: info@fila20.com
Director's filmography: Clan (2016), Handen (2016) Contact: stefaniekolk@gmail.com
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INTERNATIONAL COMPETITION 4: PARCHED LAND
GREETINGS FROM ALEPPO Netherlands, Syria // 2017 // 17m SCOTTISH PREMIERE War is tragic and absurd. Survival is often touching and highly surreal in the war-torn city of Aleppo. Director: Thomas Vroege, Floor Van Der Meulen, Issa Touma Screenplay: Thomas Vroege, Floor Van Der Meulen Cinematography: Issa Touma Editing: Floor Van Der Meulen, Thomas Vroege Music: Darius Timmer Sound: Tom Jansen Director's filmography: 9 Days – From My Window in Aleppo (2015) Contact: info@someshorts.com
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SOG Germany // 2017 // 10m SCOTTISH PREMIERE After a flood, a shoal of fish get stuck in some trees. In danger of drying out, they scream sharply. Woken by the noise, the inhabitants of a nearby cave are not happy about the unintended gathering in their desolate land. Director: Jonatan Schwenk Director's filmography: Neunundachtzig (2012), Maison Sonore (2011), Sisyphos Blues (2009) Contact: markus@augohr.de
THE ATOMIC SOLDIERS
MEMORY OF THE LAND
DO WE LEAVE THIS HERE
The Netherlands // 2017 // 23m INTERNATIONAL PREMIERE
Spain // 2017 // 13m SCOTTISH PREMIERE
Canada // 2017 // 16m EUROPEAN PREMIERE
After more than four decades of forced silence, some of the last surviving atomic soldiers share their unfathomable experiences of the atomic bomb tests of the 1950s.
Palestine. A body is trapped at a checkpoint; an essential mechanism of the Israeli occupation. The body is pierced by structural and physical violence. A reflection of the human condition under different forms of violence, of collective memory and identity as forms of resilience.
A journalist headed north to report on a controversial dam gets more than he bargained for when a series of mishaps finds him caught between a Christmas tree and unraveling local drama.
Director: Morgan Knibbe Sound: Vincent Sinceretti Director's filmography: Those Who Feel the Fire Burning (2014), Shipwreck (2014), A Twist in the Fabric of Space (2012) Contact: info@someshorts.com
Director: Samira Badran Producer: Samira Badran Screenplay: Oriol Martin Gual Cinematography: Oriol Martin Gual Editing: Oriol Martin Gual Sound: Lucas Ariel Vallejos Animation: Àlex Guitart, Oriol Martin Gual, Pol Cayuela Rull
Director: Julia Hutchings Producer: Alexandra Caulfield Director's filmography: Here Nor There (2016), Irradiate (2010) Contact: serge@ladistributrice.ca
Director's filmography: First film Contact: fest@marvinwayne.com
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INTERNATIONAL COMPETITION 5: TREADING WATER
STRANGE SAYS THE ANGEL
GAZE
ETRANGE DIT L'ANGE
Iran, Italy // 2017 // 15m SCOTTISH PREMIERE
France // 2017 // 18m UK PREMIERE Seven year old Nina cannot be her aunt’s daughter. Nor can she be her father’s lover. In this world threatened by contamination, what then is Nina’s place? Director: Shalimar Preuss Producer: Emmanuel Chaumet Screenplay: Shalimar Preuss Editing: Mauricio Lleras Sound: Olivier Touche, Dominique Gaborieau Director's filmography: My Blue-Eyed Kid (2012), Rendez-Vous In Stella-Plage (2009), Fade Far Away (2008), Self to Self (2005) Contact: contact@eccefilms.fr
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GLASGOW SHORT FILM FESTIVAL 2018
NEGAH
On her way back from work a woman witnesses an incident on the bus and has to decide whether to reveal it or not. Director: Farnoosh Samadi Producer: Pouria Heidary Oureh Screenplay: Farnoosh Samadi, Ali Asgari Cinematography: Ashkan Ashkani Editing: Yalda Jebelli Music: Navid Fashami Sound: Hossein Ghorchian Director's filmography: Gaze (2017), The Silence (2016) Contact: info@someshorts.com
STAY UPS
ALL OVER THE PLACE
WILD HORSES
Sweden // 2017 // 12m SCOTTISH PREMIERE
ANTES DE IRME
UK // 2017 // 26m
Argentina // 2017 // 10m SCOTTISH PREMIERE
Joan has been housebound with M.E. for most of her teenage years. Risking a relapse, she throws caution to the wind and leaves the house in search of new experiences.
A woman in her forties prepares for a date, while telling her child to keep out of the way. Director: Joanna Rytel Director's filmography: Moms On Fire (2016), Cats Can Swim (2016), On Top of Your Gaze (2013), Once Upon a Time There Was an Unfaithful Mommy (2013), Me Seal, Baby (2013), The Seal (2011), You and Me (2011), Gang Bang Barbie (2010), Flasher Girl On Tour (2010), Unplay (2009), To Think Things You Don't Want To (2005), A Film Inwards (2003), Then I'll Take Your Cat (2002), Animalperformance (2002) Contact: joanna.rytel@gmail.com
Jimena still has the keys to her former home, now occupied by her ex-boyfriend and his current girlfriend. Jimena knows that there is nobody home, and goes inside. Director: Mariana Sanguinetti Producer: Sonia Stigliano Screenplay: Mariana Sanguinetti Cinematography: Diego Esparza Jiménez Editing: Sonia Stigliano Music: Tomás Azcárate Sound: Diego Tamayo Gutiérrez, Nahuel Palenque Director's filmography: First film Contact: maru.sanguinetti@hotmail.com
Director: Rory Alexander Stewart Producer: Rebecca Smith Screenplay: Rory Alexander Stewart Cinematography: Samira Oberberg Editing: Fiona Brands Production Design: Celestria Kimmins Music: Segun Akinola Sound: Michael Johnson Director's filmography: In the Grass (2016), Misery Guts (2014), Good Girl (2014), Wyld, (2014), The Port (2013) Contact: rorystewart89@googlemail.com
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INTERNATIONAL COMPETITION 6: WHERE YOU LOOK FROM
UGLY
DILIMAN
MIRAGE MY BROS
Germany // 2017 // 12m
UK // 2017 // 14m UK PREMIERE
MIRAGEM MEUS PUTOS
An ugly cat struggles to exist in a fragmented and broken world, eventually finding a soulmate in a mystical chief. Inspired by the internet story ‘Ugly the Cat’. Director: Nikita Diakur, Redbear Easterman Producer: Nikita Diakur Music: Cédric Dekowski, Enrica Sciandrone, Felix Reiffenberg Sound: Nicolas Martigne, David Kamp Animation: Bastian J. Schiffer, Gerhard Funk, Nicolas Trotignon, Phil Maron Director's filmography: Fly on the Window (2009) Contact: info@nikitadiakur.com
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A Filipino family is caught up in a long-winded catering delivery for their niece’s wedding that seems to pull them further and further from the reception itself. Director: T J Collanto Producer: Michael Graf, Remi Itani Screenplay: T J Collanto Cinematography: Nicholas Nazari Editing: Marizen Limuco Production Design: Shalini Adnani Director's filmography: Courier (2015), Amnesia (2015), This Morning (2014), Control Room (2012) Contact: michigraf@me.com
Portugal // 2017 // 24m UK PREMIERE An elementary school class without a teacher, a contract signing with a major football club and a new year’s eve party. A youth absorbed by the power of dreams and the harshness of reality. Director: Diogo Baldaia Producer: Diogo Baldaia, Manuel Rocha da Silva, Maura Carneiro Director's filmography: Figure (2014), Fury (2013) Contact: portugalfilm@indielisboa.com
REVUE
HAIRAT
EVERYTHING
Denmark, Germany // 2016 // 14m UK PREMIERE
Ethiopia // 2016 // 7m UK PREMIERE
Ireland, USA // 2017 // 11m UK PREMIERE
A study of movement filmed at fairs, festivities and music shows in the German-Danish border region; the pride of the athletes and the passion of the musicians. The amusement of the guild members terminates in a quick pinch of unease when military discipline strikes and the enthusiasm of the cheering crowd dissolves in the blessedness of the celebrating villagers.
Every night for more than thirty five years, Yussuf Mume Saleh has journeyed to the outskirts of the walled city of Harar to bond with his beloved hyenas.
In a world made for a computer game, everything you see is a thing you can be. A playful exercise in existential thinking.
Director: Urte Alfs Producer: Urte Alfs Editing: Urte Alfs Music: Lars Precht, Vredeber Albrecht Sound: Jana Irmert
Director: Jessica Beshir Director's filmography: He Who Dances on Wood (2017), Heroin (2017) Contact: jessybeshir@gmail.com
Director: David OReilly Director's filmography: The External World (2010), Please Say Something (2009), Octocat Adventure (2008), Serial Entoptics (2008), RGB XYZ (2007), Wofl2106 (2006) Contact: mail@davidoreilly.com
Director's filmography: My Dearest Family (2015), Days 151 – 459 (2013), Osmosis (2011), Walhalla – A Maiden's Prayer (2010) Contact: urte@filmphilosophin.de
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Kevin Jerome Everson
KEVIN JEROME EVERSON: NOW Y’ALL HAVE TO LOOK AT US Kevin Jerome Everson is one of the most prolific filmmakers currently working in the United States. Based in Charlottesville, Virginia, his overriding concern is with black working class communities, and the social, economic and historical forces underpinning their everyday reality. Appearing at first glance to be observational cinema in form, his work straddles documentary, performance and abstraction, more often than not a creative collaboration with its subject. He is less concerned with narrative than with character and gesture, as well as the act of filming itself. Having trained as a photographer and sculptor, Everson adopts a handheld street photography aesthetic on even his most tightly scripted works, and – conversely – sculpts many of his props, such as the crow bar, hammer and manhole cover in Fe26, registering a level of craft that belies the documentary appearance of the work. Everson’s work seeks to rescribe the silenced histories of segregation and migration that have defined black American identity in the twentieth century. His films have been described by Terri Francis as stepping “into the vacuum where real family photographs and home movies have been lost to migrations, floods, and the precariousness of black life in America.” Yet he is not concerned with the presentation of a narrative of oppression, resistance and sacrifice. Rather than pander to the expectations of the typical liberal middle-class audience for experimental film, he creates scenes of ordinary existence that – due to their rarity in contemporary cinema – are oddly revelatory. Everson aligns his own practice with the labour portrayed on screen. Whether medical practitioners (Ears, Nose and Throat), water department workers (Sound That) or street magicians (Stone), his subjects perform tasks with a skill we as viewers do not possess, and an understanding we are not invited to share.
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If then his films avoid engaging with contemporary political discourses, they are politically highly charged in their very refusal to do so. They throw down a challenge, withholding information or clear narrative, thereby denying the audience’s agency. We are simply required to turn up and look. This requirement is at its most demanding in Park Lanes, an eight-hour film charting a day’s shift in a factory making bowling alley parts. Everson is explicit in his instruction that this work should not be presented as a gallery installation. It screens during the course of a day and the viewer must commit their working day to it. Alongside Park Lanes, GSFF has made a selection of eighteen of Everson’s 130+ short films. Programme 1 focuses on testimony, on stories told, remembered or revised. Programme 2 explores the communities that grow around places of work, and how they change through time and the impact of gentrification, whilst Programme 3 is concerned with performance and graft. Yet running throughout these programmes is a fascination with movement and gesture, whether painstakingly repeated roping exercises (Ten Five in the Grass), American football moves reinterpreted as dance (The Release) or the raised hand of the ear examination echoing the swearing in of a court witness (Ears, Nose and Throat). A young woman reenacts the courage under fire of Cleveland Mayor Carl Stokes at a tense press conference during a 1968 riot (Emergency Needs), whilst in IFO multiple accounts of a UFO sighting are punctuated by a sequence of gestures performed in the street, an attempt at communication with the stars perhaps? Above all, Everson’s intervention into the lives he portrays is as an artist: “I’m not a documentarian or a journalist trying to change shit or inform. I’m looking for form. That’s the game.” Matt Lloyd
KEVIN JEROME EVERSON: PARK LANES
Thursday 15 March (10.00) GFT Cinema 3 // 8h // N/C 15+
PARK LANES USA // 2015 // 8h SCOTTISH PREMIERE A full day’s work in a factory producing bowling alley mechanisms; an eight hour experience in real time. A meditation on history, economy and the place of the individual. Director: Kevin Jerome Everson Producer: Madeleine Molyneaux Cinematography: Kahlil Pedizisai, Kevin Jerome Everson, Michelle Lee, Rachel Lane, Jack Doerner, Nicole Chakeris Sound: Nicole Chakeris, Rachel Lane Director's filmography: (Selected) Tonsler Park (2017), 8903 Empire (2016), Three Quarters (2015), The Island of St. Matthews (2013), Century (2012), Quality Control (2011), The Pritchard (2011), Erie (2010), Old Cat (2009), Home (2008), The Golden Age of Fish (2008), Something Else (2007), Cinnamon (2006), Pictures from Dorothy (2003), A Week in the Hole (2001) Contact for this and all titles: picturepalacesale@yahoo.com GLASGOW SHORT FILM FESTIVAL 2018
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KEVIN JEROME EVERSON 1
Friday 16 March (19.00) CCA Cinema // 1h45m // N/C 15+
IFO
ROUND SEVEN
EMERGENCY NEEDS
USA // 2017 // 10m
USA // 2018 // 19m
USA // 2007 // 7m
Historic UFO sightings over Mansfield are evoked through memory, report and gesture.
The famous 1978 boxing match between Sugar Ray Leonard and local prizefighter Art McKnight.
Director: Kevin Jerome Everson Producer: Madeleine Molyneaux
Director: Kevin Jerome Everson Producer: Madeleine Molyneaux
Was it a civil disorder, a riot, or a rebellion in the ghetto of Cleveland in 1968? Archival footage of black mayor Carl Stokes is updated and reframed with a young black woman re-enacting Stokes's tense post-disorder news conference. Director: Kevin Jerome Everson Producer: Madeleine Molyneaux
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ACCORDING TO USA // 2007 // 9m Newsworthy stories of interracial murder in southern rural America are told in two distinctly contradictory versions. Without commentary, the consumption of falsified news is concretely portrayed as a very old story, against which one must always be on guard. Director: Kevin Jerome Everson
SUGARCOATED ARSENIC
EARS, NOSE AND THROAT
USA // 2013 // 21m
USA // 2016 // 10m
A cinematic exploration of African American intellectual, social and political life at the University of Virginia, Charlottesville during the 1970s.
During an ears, nose and throat examination Shadeena Brooks recounts a horrible event she eyewitnessed.
Director: Kevin Jerome Everson, Claudrena Harold Producer: Claudrena Harold, Madeleine Molyneaux Production Design: Roxanne Campbell, Ryan Leach, Kelsey Petrie Sound: Nicole Chakeris, Rachel Lane, Meredith Nelson, Elizabeth Webb
Director: Kevin Jerome Everson Producer: Madeleine Molyneaux, Kevin Jerome Everson Sound: Elizabeth Webb, Lydia Hicks
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KEVIN JEROME EVERSON 2
Saturday 17 March (13.00) CCA Cinema // 1h45m // N/C 15+
WORKERS LEAVING THE JOB SITE
COMPANY LINE
SOUND THAT
USA // 2009 // 30m
USA // 2014 // 12m
USA // 2013 // 7m
A film about one of the first predominately Black neighbourhoods in Mansfield, Ohio. The Company Line began during the post-war migration of Blacks from the south to the north in the late forties.
Employees of the Cleveland Water Department are on the hunt for leaks in the infrastructure in Cuyahoga County.
The Lumière Brothers’ classic 1895 film is reimagined at a job site in Columbus, Mississippi. Director: Kevin Jerome Everson Producer: Madeleine Molyneaux
Director: Kevin Jerome Everson
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Director: Kevin Jerome Everson Producer: Madeleine Molyneaux Cinematography: Lydia Hicks Sound: Elizabeth Webb, Lindsay Arturo
FE26
FIFEVILLE
USA // 2014 // 7m
USA // 2005 // 16m
Two gentlemen make a living hustling metal in Cleveland, Ohio.
A film about a neighbourhood in Charlottesville, Virginia. It focuses on the details, gestures and material life of the citizens of Fifeville as they communicate their understandings of the neighbourhood's changing landscape.
Director: Kevin Jerome Everson Producer: Madeleine Molyneaux Cinematography: Lydia Hicks Sound: Elizabeth Webb, Lindsay Arturo
JUNETEENTH, COLUMBUS MISSISSIPPI USA // 2013 // 2m An outing is celebrated one frame at a time. Director: Kevin Jerome Everson Producer: Madeleine Molyneaux
Director: Kevin Jerome Everson, Corey DB Walker
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KEVIN JEROME EVERSON 3
Saturday 17 March (19.15) CCA Cinema // 1h45m // N/C 15+
EASON
THE RELEASE
TEN FIVE IN THE GRASS
USA // 2016 // 15m
USA // 2013 // 4m
USA // 2012 // 32m
A map of movements loosely based on the life of James Walker Hood Eason (1886–1923), a North Carolina-born orator who served as leader of Philadelphia's Universal Negro Improvement Association.
An old American football move interpreted gracefully.
Black cowgirls and cowboys prepare themselves for the rodeo event of calf roping. Filmed in Lafayette, Louisiana and Natchez, Mississippi, the title refers to the type of rope they use to capture fast calves.
Director: Kevin Jerome Everson Producer: Madeleine Molyneaux
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Director: Kevin Jerome Everson
Director: Kevin Jerome Everson Producer: Madeleine Molyneaux
STONE
RITA LARSON'S BOY
USA // 2013 // 7m
USA // 2012 // 11m
Stone is getting his hustle on, often and early.
Ten actors audition for the role of Rollo Larson in the 1970s sitcom Sanford and Son.
Director: Kevin Jerome Everson
Director: Kevin Jerome Everson Producer: Madeleine Molyneaux
HOW CAN I EVER BE LATE USA // 2017 // 5m A real cool recreation of Sly and the Family Stone, accompanied by their famous smooth song. Director: Kevin Jerome Everson, Claudrena Harold Producer: Claudrena Harold, Madeleine Molyneaux Production Design: Aspen Miller Music: Sandy Williams IV, Adam Turay, Aaron Levine, Jack Doerner, Garen Dorsey
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Southeast Asian Cinema
SOUTHEAST ASIAN CINEMA Since the late 1990s, following the 1997 economic crash, a vibrant film culture has emerged in Southeast Asia. Behind the international success of global arthouse auteurs Apichatpong Weerasethakul, Lav Diaz, Boo Junfeng and Anocha Suwichakornpong, a network of new production and distribution companies has developed. In turn, this has led to increased visibility at international film festivals where audiences outside of the region have begun to appreciate the diverse range of exciting new filmmakers following in their footsteps. Our Southeast Asian focus explores the work of some of the key filmmakers from the region as they experiment with ideas around memory, history and fantasy. In collaboration with the Southeast Asian Cinemas Research Network, GSFF presents several programmes of shorts drawn from the region. Kalampag Tracking Agency: Experimental Films & Videos from the Philippines (1985–2015) is an ongoing curatorial research project to unearth Filipino experiments in moving image practice. Nguyễn Trinh Thi is a Vietnamese moving image artist and the founder and director of Hanoi DocLab, an independent centre for documentary film and moving image art. Death and Killing in Southeast Asia is a pan-regional showcase curated by Malaysian filmmaker Tan Chui Mui of Next New Wave. And the leading auteur of the region, Apichatpong Weerasethakul, has curated four programmes of his shorts specially for the festival. The foundation of this focus is a two day symposium (pages 124–5), featuring speakers from Forum Lenteng, Indonesia; Anti-Archive, Cambodia, Save Myanmar Cinema and the Thai Film Archive, as well as Nguyễn Trinh Thi and Merv Espina, co-curator of the Kalampag Tracking Agency project. The Southeast Asian focus is funded by the Arts and Humanities Research Council and the University of St Andrews and has been organised in collaboration with the Association of Southeast Asian Cinemas Conference (ASEACC). We are grateful for the additional support of the University of Glasgow and the Goethe Institut Glasgow for certain elements of the programme.
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To accompany the focus, GSFF and the Southeast Asian Cinemas Research Network present two installations, showing in the Intermedia gallery at CCA between 11am and 7pm every day of the festival.
EVERYDAY’S THE SEVENTIES (Nguyễn Trinh Thi, 2018, sound mixed by Ernst Karel) Different versions of the same history – one personal, another depicted by cinema, the third described by the media – are laid on top of each other and collapsed. Mixing footage from 80s and 90s Hong Kong movies with wire service footage of the Vietnam War and the Vietnamese refugee crisis in Hong Kong from the late 70s until 1997, and with an interview with the owner of ‘Paul's Records’ in Hong Kong, Everyday’s the Seventies continues to explore Nguyễn’s interests in gaps, holes and disconnections in between personal memories/history and other kinds of collective histories.
WEEKDAY (HANOI) (recorded Tuesday 6 November 2017 by the DocLab Reality-Based Audio Workshop, edited by the recordists and Ernst Karel) Weekday (Hanoi) is a composition made from recordings made over the course of a Tuesday by participants in a workshop organised by Hanoi DocLab, and led by Ernst Karel. Taking inspiration from Walter Ruttmann’s Weekend (1930), a sound portrait of Berlin, participants went their separate ways for a day in Hanoi, each making recordings of aspects of the city that caught their attention, and then collaboratively decided upon a structure for all of their contributions. Free entry
KALAMPAG TRACKING AGENCY: EXPERIMENTAL FILMS & VIDEOS FROM THE PHILIPPINES (1985–2015)
Thursday 15 March (21.15) CCA Cinema // 1h30m // N/C 15+
They say it always starts with a bang. Or a series of bangs. Like the tiny explosions in your brain that rattle you to take action, it could be something simple and small, not necessarily earth-shattering. The act of capturing fleeting moments, ideas and visions entails a certain slippage of forms and time, something that tends to elude us but cannot be ignored, something which we liken to kalampag, a Tagalog word that roughly translates to a ‘bang’; the act of tracking them something of an alert, a warning that something may worsen or interrupt the journey, versus the stable engine hum of a giant system, a well-oiled machine; like the rattling of loose parts that collide while in motion. This is a collection of loose parts in motion, a series of bangs, assembled by individual strengths, and how they might play off each other in the context of a screening programme. Featuring works from the Philippines and its diaspora, it is here that we present some of the most singular, fragile, and striking moving image works by Filipinos over the past thirty years. It could have been from forty years, or more. But we are limited by time and resources, and what we have current access to.
DROGA! Philippines // 2014 // 7m A Super 8 tourist film about the Los Angeles landscape through the lens of Filipino immigrants, examining cultural identity by documenting the intersections of American pop culture and Filipino traditions. Director: Miko Revereza
This is by no means a representative program. This selection is personal, subjective. Like the works assembled here, the act of assembling this program is itself informed by a certain agency, by an independent urge to act on one’s will. With no small amount of detective work to address the institutional and personal gaps of proper cataloging, archiving and storage, we tracked down individual people and individual works, from the nooks and crannies of several libraries and collections, to tiny islands in the Visayas, to the Los Angeles sprawl. With a variety of formats, techniques and textures; from 8mm and 16mm to HD and cellphone video; from found-footage and optical print experiments to ethnographic documents and video installations; this is a collection of works assembled not by theme, history, medium or other arbitrary concerns: this is a confluence of uncanny juxtapositions and pleasant contradictions, an experience not unlike revisiting a familiar place in a new light. But before you get to where you’re going, you hit a speed bump or a pothole and you hear a loud rattling coming from your car. Sometimes you think something’s amiss; sometimes it’s the sound of it that comforts you.
ONCE UPON A TIME MINSAN ISANG PANAHON Philippines // 1989 // 4m
This programme would be impossible to put together without the kind support of the individual artists, the Mowelfund Film Institute, UP College of Mass Communications, UP Film Institute, Ateneo Art Gallery, Green Papaya Art Projects, Terminal Garden, and the National Film Archive of the Philippines.
An experiment in optical printing using Super 8 home movies and hand-coloured found film material. The film was created during the influential Christoph Janetzko workshops, conducted in 1989 and 1990, in collaboration with Mowelfund Film Institute, Goethe Institut and the Philippine Information Agency.
Shireen Seno and Merv Espina
Director: Melchor Bacani III
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KALAMPAG TRACKING AGENCY: EXPERIMENTAL FILMS & VIDEOS FROM THE PHILIPPINES (1985–2015) (continued)
ABCD
RIDDLE: SHOUT OF MAN
Philippines // 1985 // 5m
BUGTONG: ANG SIGAW NI LALAKE
VERY SPECIFIC THINGS AT NIGHT
An experimental animation, decidedly crude in approach, part socio-political commentary and surrealist whimsy, advocating for a new and personal take on the alphabet.
Philippines // 1990 // 3m
Philippines // 2009 // 5m
Rumoured to have used footage salvaged from a commercial studio dumpster, the film is a commentary on Filipino on-screen macho culture and one of the rare surviving works in the brief filmmaking career of Ramon ‘RJ’ Leyran. It was a product of the last Christoph Janetzko film workshop, with a focus on experiments with optical printers, held in 1990.
A mobile phone film that captures the peculiar tension between the beauty, violence, and raw exuberance of New Year’s Eve in Manila. Shot on Mahiyain Street (Shy Street), Sikatuna, a stone’s throw away from the house of Chavit Singson, who also led the masses to bring then-President Estrada out of the presidential palace.
Director: R J Leyran
Director: John Torres
CHOP-CHOPPED FIRST LADY + CHOP-CHOPPED FIRST DAUGHTER
THE RETROCHRONOLOGICAL TRANSFER OF INFORMATION
Philippines // 2005 // 2m
Philippines // 1994 // 10m
A tongue-in-cheek poke at the Philippines' own culture and recent history. The First Lady is Imelda Marcos, the First Daughter game show host and actress Kris Aquino. Both women’s antics are juxtaposed with gory evocations of the chop- chop lady murders that were exploited by the '90s slasher films Aquino herself starred in.
A humorous meditation on time, politics, and point of view in cinema. By equipping the camera to film through the portrait of Philippine nationalist José Rizal on the one peso note, Tad Ermitaño plays with the boundaries of different points of view: Rizal’s, that of Philippine politics, the camera’s, the filmmaker’s, and ours—as well as with the temporal relations between them.
Director: Roxlee
JOHNNY CRAWL JUAN GAPANG Philippines // 1986 // 7m A man searches for his destiny while crawling the streets of the metropolis at the height of the Marcos dictatorship, traversing the main city thoroughfare, and tracing the shadows of the pillars of the Manila Film Center, just before the People Power Revolution that toppled the Marcos regime. Director: Roxlee
Director: Yason Banal
Director: Tad Ermitaño 52
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ARS COLONIA
CLASS PICTURE
ANITO
Philippines // 2011 // 1m
Philippines // 2012 // 5m
Philippines // 2012 // 8m
A structural commentary on both colonialism and globalisation through medium translation and generation loss. Shot on Hi8 video, then hand-coloured on 35mm black-and-white film, then transferred to video, this brief piece is evocative of both ageing and scratched silent film iconography and trashy image-collapsed analog video.
Shot on a single roll of expired 16mm film, this ‘photography film’ evokes faded memories and injects lyricism and humour into the archetypal class picture, alongside the fleeting sound of waves crashing on a beach.
An animistic festival incorporated into Folk Catholicism slowly turns into modern day madness. A tragicomic portrait of a small island town whose livelihood is deeply rooted in and bound to the sea.
Director: Tito & Tita
Director: Martha Atienza
THE MOON IS NOT OURS
RUST
IN MANILA
HINDI SA ATIN ANG BUWAN
KALAWANG
SA MAYNILA
Philippines // 2011 // 4m
Philippines // 1989 // 7m
Philippines // 1989 // 7m
Travel footage from a family holiday on the island of Bohol is captured in black and white, without sound, on a basic video camera, in this contemplative piece on lost love, distance, resignation and sadness.
One of the most prominent and well-crafted films to emerge from the Christoph Janetzko experimental film workshops is a satirical piece that uses found footage of war, sex, and pop culture to unpick the cultural and libidinal complex of colonisation.
A black and white impressionistic document of Manila, its architecture and inhabitants, shot between 1988–89 as part of German film artist Christoph Janetzko's influential film workshop series.
Director: Raya Martin
Director: Jon Lazam
Director: Cesar Hernando, Eli Guieb III, Jimbo Albano
Director: Mike Alcazaren, Jo Atienza, Vic Bacani, Ricky Orellana, Allan Hilario
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NGUYỄN TRINH THI Nguyễn Trinh Thi is a Vietnamese moving image artist and the founder and director of Hanoi DocLab, an independent centre for documentary film and moving image art in Hanoi, Vietnam. Nguyễn’s experimental documentaries and video installations explore themes connected to Vietnam’s complex history and the control of the government in contemporary Vietnamese society through their layered and poetic form. Her works incorporate original documentary footage, photographs and ‘found’ material from press photos, corporate videos and classic films. Having studied journalism, photography, international relations and ethnographic film in the United States, Nguyễn’s work draws on these different experiences and takes an investigative approach, sometimes with Nguyễn herself undertaking extensive field research. She is driven by her curiosity to understand better the hidden histories of her country, censored from mainstream media for their contentious nature. Exploring the relationship between ‘official’ and ‘unofficial’ histories and memories in Vietnam, themes of her work have included the legacy of colonialism and the impact of the war, as well as more recent environmental concerns such as nuclear power and pollution and the precarious role of the artist in the context of political censorship. Drawing from a poem by Emily Dickinson by the same name, I Died for Beauty (2012) combines corporate footage of a factory opening with classical opera in order to ponder the subject of beauty. We see European business people and Vietnamese officials greeting each other against a rich soundscape of classical music. Asian workers are shown polishing up the motorbikes that the factory has manufactured before they are put on display in the showrooms. Against these images, the noise of the factory machinery disrupts these smooth interactions. Eleven Men (2016) combines footage from Vietnamese classic feature films produced by the state-owned Vietnam Feature Film Studio with Franz Kafka’s short story ‘Eleven Sons’. Also influenced by a short story written by Phạm Thi Hoai, which focusses on a female protagonist’s attitude towards her lovers, Nguyễn’s film takes the actress, Như Quỳnh as its central focus, adapting Kafka’s story in order to foreground a woman’s
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perspective. Eleven Men edits together footage of Như’s roles spanning three decades since the late 1960s, providing an insight into how women have been portrayed in Vietnamese cinema over the years and at the same time shifting the focus towards the agency of the female characters in these films. In Letters from Panduranga (2015) Nguyễn presents an intimate portrait of the ancient Cham community – an ethnic minority in Vietnam whose territory is threatened by the construction of two nuclear power plants. Voiceover narration from unidentified male and female speakers consists of a correspondence expressing increasing uncertainty about an ethnographic project, alongside quotations from Chris Marker’s Letter from Siberia (1957) and Statues Also Die (co-directed with Alain Resnais and Ghislain Cloquet, 1953). Together the voices we hear raise critical questions around the nature of field work and ethnography, about the limitations of accessing the silenced histories and memories of the place through observation while at the same time foregrounding the historical violence that the community has experienced through French colonialism, the Vietnamese invasion of the Cham and the Vietnam War. Nguyễn’s films and video art works have been shown at international festivals and art exhibitions including Rotterdam International Film Festival; Jeu de Paume, Paris; the Lyon Biennale; Asian Art Biennal Taiwan; Fukuoka Asian Art Triennial; Singapore Biennale, Jakarta Biennale 2013; Oberhausen International Film Festival; Bangkok Experimental Film Festival; Artist Films International; DEN FRIE Centre of Contemporary Art, Copenhagen; and Kuandu Biennale, Taipei and the Biennale of Sydney. In 2009, inspired by the grassroots media community centre Echo Park Film Center in Los Angeles, Nguyễn founded Hanoi DocLab in order to help develop and support experimental and independent film culture in the city. Philippa Lovatt
Friday 16 March (21.15) CCA Cinema // 1h30m // N/C 15+
I DIED FOR BEAUTY
ELEVEN MEN
Vietnam // 2012 // 8m
Vietnam // 2016 // 28m
Combining corporate footage of a factory opening event in Asia with classical Western opera music, the filmmaker ponders upon the subject of beauty.
Scenes from a range of Vietnamese classic narrative films featuring the same central actress, Nhu Quynh. Spanning three decades of her legendary acting career, most of the appropriated movies – from 1966 to 2000 – were produced by the state-owned Vietnam Feature Film Studio. The film’s text was adapted from 'Eleven Sons', a short story by Franz Kafka first published in 1919.
Director: Nguyễn Trinh Thi Director's filmography: (Selected) Vietnam the Movie (2016), SOLO for a CHOIR (2013), Jo Ha Kyu (2012), Song to the Front (2011), Spring Comes Winter After (2008) Contact: thidoclab@gmail.com
Director: Nguyễn Trinh Thi
LETTERS FROM PANDURANGA Vietnam // 2015 // 35m A letter exchange between a man and a woman, inspired by the government of Vietnam's plan to build the country’s first two nuclear power plants in Ninh Thuan (formerly known as Panduranga), right at the spiritual heart of an ancient matriarchal Hindu culture that stretches back almost two thousand years. Director: Nguyễn Trinh Thi
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DEATH AND KILLING IN SOUTHEAST ASIA
Saturday 17 March (21.15) CCA Cinema // 1h45m // N/C 15+
THE TIGER OF 142B
ALONG THE ONE WAY
Singapore // 2016 // 12m
SEPANJANG JALAN SATU ARAH
DEATH OF THE SOUNDMAN
A young unemployed man finds himself having difficulty communicating with his girlfriend. As he struggles to cope with his fragile state of mind, a series of mysterious killings unsettles the residents of Block 142B.
Indonesia // 2016 // 16m
AWASARN SOUND MAN
“One day my mother asked me to go home. Once I got there, she asked everybody in our family to vote for a governor who is an Islamic religious leader. I refused because I disagreed with her logic. But mother kept on telling me to choose one based on religion. When the Election Day came, I made my choice.”
Thailand // 2017 // 16m SCOTTISH PREMIERE
Director: Henry Zhuang, Harry Zhuang Director's filmography: Giant (2017), Winter in the Warmth (2011), Story About My Dad (2010), Contained (2010), Birthday Present (2006), Departing (2003) Contact: zhuangbros@gmail.com
Director: Bani Nasution Director's filmography: Neutral Street (2017) Contact: liarliarsolo@gmail.com
Two sound mixers are working hard on a film. But will anyone really pay attention to the sound of a film? Director: Sorayos Prapapan Cinematography: Vijaktre Thirapatana Music: The Paradise Bangkok Sound: Chalermrat Kaweewattana, Sorayos Prapapan Director's filmography: Fat Boy Never Slim (2016), 325B (2015), A Souvenir from Switzerland (2015), Auntie Maam Has Never Had a Passport (2014), Boonrerm (2013), Noumena Scene (2013), Missing 13 Film Lab (2012) Contact: yossyoss@hotmail.com
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LITTLE SONS Myanmar // 2016 // 24m Kan Gyi and Par Gyi spend their days doing odd-jobs and begging on buses. Neglected by their parents and society, they spend their nights sniffing glue and looking for a place to sleep. But deep inside, they are still children. Director: Sai Whira Linn Khant, Yu Par Mo Mo, Nay Chi Myat Noe Wint Contact: thaiddhi@gmail.com
JODILERKS DELA CRUZ, EMPLOYEE OF THE MONTH Philippines // 2017 // 13m Jodilerks, a gas station attendant, is on her last day of duty. She has some plans up her sleeve and the night is still young… Director: Carlo Francisco Manatad Producer: Armi Rae Cacanindin, Ling Tiong, Josabeth Alonso Screenplay: Carlo Francisco Manatad Cinematography: Lim Teck Siang Editing: Lee Chatametikool Production Design: Whammy Alcazaren Music: Benjo Ferrer III Sound: Mikko Quizon Director's filmography: Fatima Marie Torres and the Invasion of Space Shuttle Pinas 25 (2017), Sandra (2016), Junilyn Has (2015), Oasis Redux (2012), Oasis (2011), Hollow (2010)
IT’S EASIER TO RAISE CATTLE LAGI SENANG JAGA SEKANDANG LEMBU Malaysia // 2017 // 18m UK PREMIERE Two teenage outcasts form an uncanny friendship in their remote village. As one discovers the other's dark secrets, she observes changes in her new friend, to the point of violence, monstrosity and affection. Director: Amanda Nell Eu Screenplay: Amanda Nell Eu Cinematography: Mahen Bala Editing: Audrie Yeo Production Design: Sharon Chin Music: Armaan Khadar Sound: Armaan Khadar Director's filmography: Seesaw (2013), Pasak (2012) Contact: nelleu@googlemail.com
Contact: carlo.manatad@gmail.com
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APICHATPONG WEERASETHAKUL In a recent interview, Apichatpong Weerasethakul stated: “In the night, one doesn’t need to interpret meanings but let the image and sound flow like a river. You cannot control it, just marvel.” Like the magical in-betweenness of the night, Apichatpong’s films take us into a twilight realm where anything is possible. Working outside of the Thai studio system, Apichatpong explores the themes of memory and myth alongside issues of personal and national politics through experimental forms that weave together his many eclectic influences. Thai horror, ghost stories, soap opera, science fiction, comic books and American structuralist and avant-garde film all inform his work, as does the animist belief system found in Khmer folk tales central to the storytelling traditions of the Mekong Delta and the Isaan region where some of his films are set. In these stories, as in his films, the jungle appears almost as a character in its own right – as a site of transformation, where spirits speak to you in the form of tigers, monkey ghosts and fireflies. However, Apichatpong’s films also deal with the traumatic and largely silenced histories of Thailand’s recent past with regards to state violence, making implicit connections with the increasing pressures placed on freedom of speech in contemporary Thai society imposed by the junta since the most recent coup d’ état in 2014. Apichatpong Weerasethakul was born in Bangkok in 1970 but grew up in the town of Khon Kaen in Northeast Thailand. He studied architecture at Khon Kaen University before completing a Masters of Fine Arts at the School of Art Institute in Chicago where he made his first short films in 1994. On returning to Bangkok, he formed the independent production company Kick the Machine and made his first feature film, the Exquisite Corpse-structured Mysterious Object at Noon (Dogfar Nai Meu Marn, 2000). Since then he has gone on to make several feature films (Blissfullly Yours, 2002; The Adventure of Iron Pussy, 2003; Tropical Malady, 2004; Syndromes and A Century, 2006; Uncle Boonmee Who Can Recall His Past Lives, 2010 and Cemetery of Splendour, 2015), short films, video installations (including Primitive 2009–; Fireworks, 2016), live theatre (Fever Room, 2015–), exhibitions (The Serenity of Madness, 2016–) and even, most recently at the Rotterdam International Film Festival, a SLEEPCINEMAHOTEL installation where audience members were able to book a bed so that they could drift in and out of sleep in comfort during all-night screenings of Dutch archive footage.
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ALLNIGHTER Saturday 17 March (23.00) CCA Theatre // 7h // N/C 18+ // All four programmes
DISCUSSION Sunday 18 March (11.15) CCA Theatre // 45m // No ticket required At this free event preceding the Sunday screening of Apichatpong’s four programmes, several international experts on his work will provide a brief introduction. Speakers include Chalida Uabumrungjit of the Thai Film Archive, May Adadol Ingawanij, University of Westminster, Philippa Lovatt, University of St Andrews and Dimitris Eleftheriotis, University of Glasgow
As this wide range of media forms and platforms suggests, Apichatpong’s diverse practice means that he continuously traverses the boundaries of visual artist and filmmaker. His work has been exhibited internationally, to wide-scale critical acclaim, and he has won several awards in the process – including the Palme d’Or at Cannes for Uncle Boonmee Who Can Recall His Past Lives in 2010. He has also been widely recognized for his contribution to culture more broadly, having received the Officiers de l’ordre des arts et des lettres from France in 2011; the Fukuoka Prize (Art and Culture) from Japan in 2014, the Yanghyun Prize from South Korea in 2014 and in 2016, he was awared the Principal Prince Claus Award from the Netherlands. Through Kick the Machine and his production and distribution company Mosquito Films, he has been an active supporter of Thailand’s independent film culture both nationally and internationally. For this special screening at GSFF18, Apichatpong has curated four programmes of his short films, including rarely seen shorts from his early work at the School of Art Institute in Chicago in the 1990s. Through this exciting retrospective, we will have the chance to explore together his truly unique creative vision. Philippa Lovatt These programmes are generously supported by the Film and Television Studies Department, School of Culture and Creative Arts at the University of Glasgow.
APICHATPONG WEERASETHAKUL 1
Sunday 18 March (12.15) CCA Theatre // 1h40m // N/C 15+
VAPOUR
LA PUNTA
M HOTEL
Thailand, South Korea, China // 2015 // 21m
Thailand // 2013 // 2m
Thailand, Hong Kong // 2011 // 12m
Clouds descend onto a village and engulf it for a day. They touch the roof tiles, the beds, the chairs, the carpets, the grass, and the bodies, infecting everything with the fever of white stupor.
Part of ‘Future Reloaded’, a collective movie tribute to the 70th edition of the Venice Film Festival, 2013. Director: Apichatpong Weerasethakul
Director: Apichatpong Weerasethakul
Two film crew members visiting Hong Kong for the first time spend the afternoon in their hotel room taking portraits of one another. In the park below, their colleague sits with a microphone clipped to his jacket. After some time, he gets up and explores the area. Director: Apichatpong Weerasethakul
EMERALD
CACTUS RIVER
WORLDLY DESIRES
MORAKOT
Thailand, USA // 2012 // 10m
Thailand, Japan // 2007 // 11m
Since appearing in Uncle Boonmee Who Can Recall His Past Lives, Jenjira Pongpas has changed her name to 'Nach', which means water. Like many Thais, she was convinced that the new name would bring her good luck. Not long after, she married. A diary of Weerasethakul's trip to see Nach and her husband.
Thailand, South Korea // 2005 // 43m
Morakot is a derelict and defunct hotel in the heart of Bangkok that opened its doors during the economic boom of the 1980s. Later, when the East Asian financial crisis struck in 1997, its reveries collapsed. Director: Apichatpong Weerasethakul
A couple escape their family to look for a spiritual tree in the jungle. There is a song at night, a song that speaks of an innocent idea of love and a quest for happiness. Director: Apichatpong Weerasethakul
Director: Apichatpong Weerasethakul
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APICHATPONG WEERASETHAKUL 2
Sunday 18 March (14.15) CCA Theatre // 1h40m // N/C 15+
THE ANTHEM
TRAILER FOR CINDI
ABLAZE
Thailand, UK // 2006 // 5m
Thailand, South Korea // 2011 // 1m
Thailand, Singapore // 2016 // 5m
In Thailand, a Royal Anthem plays before every cinema film screening in honour of the King. It is customary to bless certain ceremonies. This cinema anthem performed by three women is intended to channel energy to give the audience a clear mind.
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Weerasethakul made this trailer for CinDi Film Festival, South Korea, 2011. Shot at a historical theatre in Finland, it’s a tribute to childhood love for cinema, in which the parting of curtains can be a spectacle.
A moving painting, brushed with black shadows on white. A man and a woman stand in a dark forest. They’re looking for something but the man blocks the woman's vision. A mysterious blaze is burning bright, but she will not be able to see it.
Director: Apichatpong Weerasethakul
Director: Apichatpong Weerasethakul
Director: Apichatpong Weerasethakul
VAMPIRE
HAUNTED HOUSES
Thailand, France // 2008 // 19m
Thailand // 2001 // 60m
Somewhere along the border of Thailand and Burma lives a creature called Nok Phii (Ghost Bird) that feeds on other animals' blood. A dream of this strange avian and its habitat, an impression of a voyage to capture this unusual treasure on film.
Media addiction in the Thai cultural landscape. Narrative taken directly from two episodes of 'Tong Prakaisad', a popular Thai military television show which deals mainly with the love lives and problems of the wealthy. All characters played by local villagers.
Director: Apichatpong Weerasethakul
Director: Apichatpong Weerasethakul
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APICHATPONG WEERASETHAKUL 3
Sunday 18 March (16.15) CCA Theatre // 1h40m // N/C 15+
THIRDWORLD
EMPIRE
MY MOTHER’S GARDEN
Thailand, USA // 1997 // 17m
Thailand, Austria // 2010 // 2m
Thailand, France // 2007 // 7m
A depiction of the landscape of Panyi island, both realistically and metaphorically.
As the camera feels its way along the walls of a cave, we see a diver in a gleaming white helmet. Images are accompanied by a polyphonic roaring, hammering and rattling. Has the diver been looking for something? Has someone else found it?
An impression of a Jewelry collection by Victoire de Castellane. The pieces in the collection are inspired by various types of dangerous flowers and carnivorous plants. A tribute to Weerasethakul's mother's garden, with its wild orchids' roots, bugs and other organisms.
Director: Apichatpong Weerasethakul
Director: Apichatpong Weerasethakul
Director: Apichatpong Weerasethakul
MOBILE MEN
GHOST OF ASIA
MONSOON
Thailand // 2008 // 3m
Thailand // 2005 // 9m
Thailand // 2011 // 3m
Two young men in a pickup truck are filming themselves. From different parts of the world, they use a camera to discover one another. In a windy atmosphere, they first film close-ups of parts of each other's bodies. Then, little by little, they shoot their full figures.
A collaboration between Apichatpong Weerasethakul and Christelle Lheureux, taking a recent tsunami in Asia as its starting point. For this double projection, the directors used the idea of a ghost seen wandering along the rocky coastline of a Thai island. They invited local children to direct the film.
A video response to the earthquake and tsunami that hit the Tohoku region of Japan on 11 March, 2011. A man is Skyping to the other side of the world. He discovers a firefly and shows it to his partner. A lullaby for a monsoon night, for a loved one far away, and for an empty field outside the window.
Director: Apichatpong Weerasethakul
Director: Apichatpong Weerasethakul, Christelle Lheureux
Director: Apichatpong Weerasethakul
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APICHATPONG WEERASETHAKUL 3 (continued)
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LUMINOUS PEOPLE
NIMIT
Thailand, Portugal // 2007 // 15m
Thailand // 2007 // 16m
A group travels in a boat along Mekong River that stretches along the Thai-Laos border. A woman casts ashes off into the stream, and the white dust merges with the muddy water. The border links the worlds of the dead and of the living.
Asked to make a film about the King, Weerasethakul decided instead to make a film about his life – his mother, his nephew, his niece, his brother, his sister, his lover, his dog, his room, his favourite landscapes, and other things, including his light.
Director: Apichatpong Weerasethakul
Director: Apichatpong Weerasethakul
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A LETTER TO UNCLE BOONMEE Germany, Thailand, UK // 2009 // 18m The voices of three young men are heard. They repeat, rehearse, memorise a letter to a man named Boonmee. They tell him about a small community called Nabua, where the inhabitants have abandoned their homes. Director: Apichatpong Weerasethakul
APICHATPONG WEERASETHAKUL 4
Sunday 18 March (18.15) CCA Theatre // 1h40m // N/C 15+
THIS AND A MILLION MORE LIGHTS
MALEE AND THE BOY
FOOTPRINTS
Thailand // 1999 // 27m
Thailand, Mexico // 2014 // 6m
Thailand // 2003 // 1m
A day in Bangkok spent by an eleven-year-old boy gathering sound-bites of the city. The verbal narrative is taken from a comic book at the location of the shoot.
Weerasethakul’s contribution to an omnibus production exploring analogies between football and everyday life.
Weerasethakul collaged his mother’s old photograph when she was young with the image from his apartment in Chicago. Hometown and foreign land, past and present, reality and memory are interlinked with each other through superimposed images.
Director: Apichatpong Weerasethakul
Director: Apichatpong Weerasethakul
Director: Apichatpong Weerasethakul
NOKIA SHORT
MEKONG HOTEL
Thailand // 2003 // 2m
Thailand, UK, France // 2012 // 56m
Shot on a mobile phone and funded by Nokia in Thailand to promote their first phone with integrated camera. Director: Apichatpong Weerasethakul
Shifting between fact and fiction in a hotel situated along the Mekong River, a filmmaker rehearses a movie expressing the bonds between a vampiric mother and daughter. Director: Apichatpong Weerasethakul
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Special Programmes
SPECIAL PROGRAMMES During preparations we’re often asked “what is the theme of this year’s festival?” Depending on who’s asking we might try and blag an intelligent response, or quickly change the subject, but the true answer – this year as ever – is “stuff we like”. We aim to present as diverse and eclectic a mix of programmes as possible, with the one proviso that they foreground the type of short film we get excited about. Exactly what that type might be is tentatively proposed in this year’s opening screening, What Makes a Glasgow Short? A whistle-stop tour through the various programme strands, it showcases the open-ended, sincere, original and enigmatic works that float our collective boat, whilst leaning heavily on the fun end of the spectrum. Following on from last year’s Reflections on Sovereignty strand, we tackle Brexit again, in the context of wider moves towards nationalism across Europe in the triangle programme We Need To Disagree. Collaborating with Vienna Shorts and L’Alternativa in Barcelona, GSFF’s contribution this year turns away from a specifically Scottish context, asking what space is afforded for people of colour in a redefined Brexit Britain, whilst Vienna Shorts focuses on the alarming rise of the far right against a backdrop of insularity in Austria and L’Alternativa strikes a more hopeful note as it draws together the various strands of the ongoing struggle for equality and acceptance. Scottish filmmaking naturally features across the programme, from showcases of directors young (Eva Riley) and old (Falconer Houston) to the championing of filmmaking outside the mainstream, whether the truly independent work of ‘weekend warriors’ in Blueprint: Scottish Independent Shorts or the burgeoning Gaelic film scene nurtured by FilmG. We welcome back local curator Marcus Jack, with the latest intriguing instalment in his Uncanny Loop project, which connects the contemporary urban experience with the Gothic mode and historical conceptions of ‘the uncanny’. We’ve got your nights covered too, with an expanded cult programme, two exceptional music-themed shows and the first UK screening of World of Tomorrow 1 and 2 in double bill, two heady, hilarious yet profound sci-fi animations by the incomparable Don Hertzfeldt. All stuff we like.
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OPENING SCREENING: WHAT MAKES A GLASGOW SHORT?
Wednesday 14 March (20.15) GFT Cinema 2 // 1h45m // N/C 15+
DEATH OF THE SOUNDMAN
NOT REQUIRED BACK
GAZE
UK // 2017 // 6m
NEGAH
AWASARN SOUND MAN
An abstract portrait of a contractor recently made redundant from the declining oil industry.
Iran, Italy // 2017 // 15m SCOTTISH PREMIERE
Thailand // 2017 // 16m SCOTTISH PREMIERE Two sound mixers are working hard on a film. But will anyone really pay attention to the sound of a film? Director: Sorayos Prapapan Cinematography: Vijaktre Thirapatana Sound: Chalermrat Kaweewattana, Sorayos Prapapan Music: The Paradise Bangkok Director's filmography: Fat Boy Never Slim (2016), 325B (2015), A Souvenir from Switzerland (2015), Auntie Maam Has Never Had a Passport (2014), Boonrerm (2013), Noumena Scene (2013), Missing 13 Film Lab (2012)
Director: Peter Marsden Producer: Hannah Currie Screenplay: Peter Marsden Cinematography: Gavin White Music: Clemens Bacher Sound: Keith Duncan Director's filmography: First film Contact: pete@luckyme.net
On her way back from work a woman witnesses an incident on the bus and has to decide whether to reveal it or not. Director: Farnoosh Samadi Producer: Pouria Heidary Oureh Screenplay: Farnoosh Samadi, Ali Asgari Cinematography: Ashkan Ashkani Editing: Yalda Jebelli Music: Navid Fashami Sound: Hossein Ghorchian Director's filmography: Gaze (2017), The Silence (2016) Contact: info@someshorts.com
Contact: yossyoss@hotmail.com
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OPENING SCREENING: WHAT MAKES A GLASGOW SHORT? (continued)
STONE
THE BURDEN
OBAIR LÀ
USA // 2013 // 7m
MIN BÖRDA
A WORKING DAY
Stone is getting his hustle on, often and early.
Sweden // 2017 // 14m SCOTTISH PREMIERE
UK // 2011 // 5m
Director: Kevin Jerome Everson
A dark musical is enacted in a modern market place, situated next to a large freeway. The employees of various commercial venues deal with boredom and existential anxiety by performing cheerful musical turns. The apocalypse is a tempting liberator.
Contact: picturepalacesale@yahoo.com
Director: Niki Lindroth von Bahr Producer: Kalle Wettre Screenplay: Niki Lindroth von Bahr Cinematography: Niki Lindroth von Bahr Editing: Niki Lindroth von Bahr Production Design: Music: Hans Appelqvist Sound: Hans Appelqvist Animation: Anna Mantzaris, Dockhus Animation, Eirik Gronmo Bjornsen, Johanna Schubert, Niki Lindroth von Bahr Director's filmography: Bath House (2014), Tord and Tord (2010), A Night in Moscow (2006) Contact: jing.haase@filminstitutet.se
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An office worker endures another mundane day behind the desk until a co-worker’s challenge engages his imagination and makes this anything but a routine day. Director: Jenny Forbes Contact: fios@filmg.co.uk
HOT WINTER: A FILM BY DICK PIERRE USA // 2016 // 18m UK PREMIERE One of the first films in American cinema to address climate change was also a hardcore porno. All sex scenes have been removed in order to avoid distraction from the conscious message. Director: Jack Henry Robbins Producer: Ali Sandler Screenplay: Jack Henry Robbins, Nunzio Randazzo Cinematography: Nate Gold Director's filmography: (Selected) I've Got Levitation (2018), Painting with Joan (2017), Christmas '92 (2016), Ghostmates (2016), Opening Night (2016), Storied Streets (2014), Love (2011), The Portrait Project (2011) Contact: hotwinterfilms@gmail.com
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DON HERTZFELDT: WORLD OF TOMORROW 1 & 2 In 2015 animator Don Hertzfeldt released World of Tomorrow, its most important feat being crowned the International Audience Award Winner at GSFF15, but also, y’know, nabbing an Oscar nomination and being referred to as ‘the best short film of the century’ (IndieWire) and ‘a must-see animated masterpiece’ (The Daily Beast). Now Hertzfeldt has created a sequel, World of Tomorrow Episode 2: The Burden of Other People’s Thoughts, and we’re screening both films where they belong, as a double bill on the big screen. For those who don’t know Hertzfeldt, the Austin-based animator was first feted for his Oscar-nominated short Rejected (2000), displaying his trademark expressive stick figures in a collection of absurd, dark and laugh-out-loud sketches, which went on to garner a huge cult following. He shot to indie animation royalty with follow up films The Meaning of Life (2005) and an acclaimed, heart-breaking trilogy (2006–2011). The three films charting the life of Bill, a stick man suffering a life-threatening mental disorder, eventually became Hertzfeldt’s first and as yet only feature film, It’s Such a Beautiful Day (2012). It was critically lauded and dubbed by many as one of the best films of the 21st century. It’s Such a Beautiful Day also clearly illustrated the filmmaker’s deeply humanist approach to both absurd and very real concepts, something that equally pervades the World of Tomorrow films.
Saturday 17 March (19.30) CCA Theatre // 1h // N/C 15+
WORLD OF TOMORROW USA // 2015 // 17m A little girl is taken on a mindbending tour of her distant future. Director: Don Hertzfeldt Director's filmography: (Selected) It's Such A Beautiful Day (2011), Wisdom Teeth (2009), I Am So Proud of You (2008), Everything Will Be OK (2006), The Meaning of Life (2005), Rejected (2000) Contact: bitterfilms@hotmail.com
These two shorts, clocking in at forty minutes back to back, were written around unscripted recordings of the filmmaker’s niece, who coincidentally lives in Scotland. Letting her improvise and trail off during their sporadic reunions, Hertzfeldt used an unpredictable and organic approach to tell a unique, funny, and heartfelt sci-fi tale drenched in both thought-provoking existentialism and the curious naiveté of main character Emily Prime. Who says stick figures can’t be art? Sanne Jehoul
WORLD OF TOMORROW EPISODE TWO: THE BURDEN OF OTHER PEOPLE'S THOUGHTS USA // 2017 // 23m UK PREMIERE he highly anticipated follow-up T to World of Tomorrow finds Emily Prime swept inside the brain of an incomplete back-up clone of her future self, who's on a mission to reboot her broken mind. Director: Don Hertzfeldt
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NFTS SCOTLAND PRESENTS EVA RILEY
Friday 16 March (21.00) CCA Theatre // 1h30m // N/C 15+
Since 2011, Scottish director Eva Riley has built up an impressive catalogue of six short films, three of them during her time at the National Film and Television School in Beaconsfield. Her graduation film Patriot debuted at the 2015 Cannes Film Festival, and her most recent film Diagnosis (2017), commissioned by BBC Films, has already secured a raft of screenings at key short film festivals such as Palm Springs, Encounters and Sao Paulo. It is tempting to claim her success for Scottish cinema – certainly Scottish politicians were quick to arrange a Cannes photocall with her – but with the exception of her debut Sweetheart (2011), made through the Digicult scheme, and Joyride (2012), all of her films have been made in the Southeast of England, in settings that always carry an undemonstrative authenticity. As a director she avoids imposing too distinct an authorial voice. Her form is always in service to the story. This selfless style and an insistence on challenging subjects are what distinguish her as a confident and exciting filmmaker. These subjects to date include far right activism, pornography production, depression and surrogacy, yet the strength of her storytelling is in the quieter details. A frustrated mother allows her anger at her daughter to spill into her evening job shooting amateur porn, with very effective results (Video, 2014). A surrogate struggles with the sense of her body not belonging to her – she recoils not only from the highly-strung couple whose baby she is carrying, but also from the insistent smiles and over-familiarity of passersby (The Agreement, 2013). In Patriot (2015) a young girl from a white supremacist family makes a tentative connection with a Roma boy, but can it possibly last?
JOYRIDE UK // 2012 // 9m A boy tries to calm his mother down as she drives dangerously through the country. Director: Eva Riley Producer: Olivia Gifford, Katie Crook Screenplay: Eva Riley Cinematography: Nanu Segal Editing: Tom Chick Music: Tess Mitchell Contact: blueirisfilms@gmail.com
Diagnosis marks her developing skill as a screenwriter and director. The film’s use of role-play, its blurring of different emotional realities, is sophisticated and ambitious. It paves the way towards longer form filmmaking, and Eva currently has two features at varying stages of development. We are proud to be celebrating the career to date of one of Screen International’s Stars of Tomorrow. Matt Lloyd
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NFTS SCOTLAND PRESENTS EVA RILEY (continued)
THE AGREEMENT
VIDEO
PATRIOT
UK // 2013 // 19m
UK // 2014 // 14m
UK // 2015 // 15m
Just before her due date, a surrogate mother has a last meeting with the family for whom she is giving birth.
Elaine is having trouble balancing her life between her teenage daughter and her night job.
As tensions simmer in the community, eleven year old Hannah meets a boy from a forbidden part of town, and her life changes forever.
Director: Eva Riley Producer: Rienkje Attoh Screenplay: Eva Riley Cinematography: Diana Olifirova Editing: Paco Sweetman Sound: Florentin Tudor Contact: hsharda@nfts.co.uk
Director: Eva Riley Producer: Eva Riley Screenplay: Eva Riley Cinematography: Ian Forbes Editing: Mark Hamill Music: Freya Thomsen Contact: hsharda@nfts.co.uk
Director: Eva Riley Producer: Michelangelo Fano Screenplay: Eva Riley Cinematography: David Pimm Editing: Abolfazl Talooni Production Design: Irene Dimarca Music: Antonio Nardi Sound: Robert Malone: Contact: hsharda@nfts.co.uk
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DIAGNOSIS UK // 2017 // 17m Sally’s medical role-play job brings real life anxieties to the surface. Director: Eva Riley Producer: Emilie Jouffroy Screenplay: Eva Riley Cinematography: Steven Cameron Ferguson Editing: Abolfazl Talooni Production Design: Anna Rhodes Music: Terence James Dunn Sound: Dayo James Contact: emilie@elationpictures.co.uk
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THE FORGOTTEN FILMS OF FALCONER HOUSTON The term ‘amateur film’ has slipped out of fashion. Since the means to shoot and edit footage of a high quality have become widely affordable, the distinction between amateur and professional filmmaking has fallen into question. In this context ‘amateur’ is often used in a pejorative sense. Yet many of the films screened in competition at GSFF – commonly classed within the catch-all classification of ‘independent’ – would have previously been considered amateur films. They can be understood as belonging to a rich and diverse tradition with its own international film festival circuit. The unearthing of several films by an amateur Paisley filmmaker of the 1960s and ‘70s is therefore cause of considerable excitement, especially because at least one of his films had been sought after by academic researchers and thought lost for ever. Cry of the Peewee (1969) won Best Film at the 1970 Scottish Amateur Film Festival, held at Glasgow Film Theatre – a remarkable achievement in what was an international competition, particularly as it was made by a school. During the course of a four year project at University of Glasgow, Children and Amateur Media in Scotland (2010–2014), researchers wrote to every school in the country in the attempt to find it, to no avail. This and other films by Falconer Houston, a local painter and art teacher, were finally unearthed when the widow of Alex Sharp, the subject of Houston’s film Bute Potter (1966), contacted the Paisley Museum to see if they had a copy. Richard Weeks, the New Media Worker at Renfrewshire Leisure was already building up a catalogue of amateur film in Paisley, and in searching out Bute Potter he discovered the full extent of Falconer’s work, scattered across various Renfrewshire archives. The four films showcased here, all of which have benefitted from new digital scans and sound restoration, represent a cross-section of the work Falconer produced over two decades: the artist portrait of Bute Potter, the documenting of typical school activities of the period in Ardentinny Outdoor Centre (1973), the ambitious historical drama Cry of the Peewee and his most personal project, the expressionist Sanctuary (1977). What is immediately clear is that Falconer Houston has an impressive visual eye. His images are rich yet precisely framed. His films may be classed as amateur, but his cinematic sensibility is as strong as any professional artist working in Scotland at that time. The discovery of these forgotten films is of great importance to Scottish film culture and GSFF is excited to present them to a new audience. Matt Lloyd
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Saturday 17 March (15.30) GFT Cinema 2 // 1h45m // N/C 10+
SANCTUARY UK // 1977 // 7m An expressive short film about a teacher who is at the end of his tether. Faced with yet another day teaching music to uninterested boys he decides to take the rest of the day off. Director: Falconer Houston Contact: richard.weeks @renfrewshire.gov.uk
ARDENTINNY OUTDOOR CENTRE
BUTE POTTER
UK // 1973 // 20m
Profile of Bute based potter Alex Sharp in his Rothesay studio. The film covers the production of high temperature porcelain ware from powder clay to finished article.
A document of the typical activities experienced by school children on an outwards bounds holiday at Ardentinny Outdoor Education Centre on the Argyle peninsula; kayaking, sailing, rock climbing, orienteering and social activities.
UK // 1966 // 17m
Director: Falconer Houston Screenplay: Alex Sharp Narration: Gordon Jackson
Director: Falconer Houston
CRY OF THE PEEWEE UK // 1969 // 24m A dramatisation of the religious turmoil and civil unrest following the restoration of Charles II and subsequent ‘bishop's rule’ in the Scottish church. It follows the experiences of the Covenanters of the south west of Scotland in their efforts to claim religious self determination. Cry of the Peewee won Best Film at the Scottish Amateur Film Festival in 1970. Director: Falconer Houston Producer: Ian McAllister
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BABE LIVE + NEW SCOTTISH MUSIC VIDEOS
Friday 16 March (20.45) Civic House // 3h // N/C 18+
Sacred Paws – Everyday Roxanne Clifford // 2016 // 3m Adam Stafford – Phantom Billions Lucas Chih-Peng Kao // 2016 // 4m Mogwai – Party In The Dark Craig Murray // 2017 // 4m Bdy_prts – Take It To The Top Ciaran Lyons // 2017 // 3m Looper – Farfisa Song introducing Mustard & Ketchup Iain Gardner // 2017 // 3m The Spook School – Body Casey Raymond // 2018 // 3m We champion Scottish film talent working in short form, and the art of the music video is too often overlooked in that mission. This programme of Scottish music videos of the last two years, selected in collaboration with Blueprint: Scottish Independent Shorts, consists primarily of low budget productions, showcasing innovative and collaborative creative approaches between filmmakers and musicians. Not all the filmmakers are Scottish; we’re also championing our local music talent, with internationally famous acts as well as upcoming bands and musicians represented in the programme. The filmmaker line-up includes GSFF alumni such as Lucas Kao, Ross Hogg, Will Anderson and others, while we also give a big shout-out to Glasgow’s go-to team for music videos, The Forest of Black (Bdy_prts, The Pictish Trail, Belle & Sebastian). Join us as we take you through animation and electro, live action and indie pop punk, nostalgia and dystopia, roaming the Highlands and Glasgow’s tenements. Glasgow/London/Paris/Bordeaux-based quartet Babe released their R&B-disco-house-electropop-infused second album Kiss & Tell last year, and are kicking off an hour-long live set after the screening. Led by front man Gerard Black (also of Francois and the Atlas Mountains fame) and with Bossy Love drummer John Bailie Jnr on board, they’re one of Scotland’s most unclassifiable music acts. Dancing guaranteed. Sanne Jehoul
Snavs – Give Me The Light Graham Hughes // 2017 // 4m Marnie – Lost Maps Tim Courtney // 2016 // 4m Top Floor Taivers – 10 Little Men Izzy Gibbs // 2017 // 4m Exit-Omni – Home Again Ross Woodhead // 2017 // 3m Kathryn Joseph – The Blood Will Anderson // 2016 // 4m Frightened Rabbit – Roadless Ross Hogg // 2017 // 3m The Pictish Trail – Dead Connection Ciaran Lyons // 2016 // 3m Belle & Sebastian – Poor Boy Ciaran Lyons, Oscar Sansom // 2018 // 4m Law – Love Drive Through Tim Brinkhurst // 2016 // 3m Bossy Love – Body John + Amandah // 2017 // 4m
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BIG FUN IN THE BIG TOWN + HIP HOP SHORTS + AFTER-PARTY BY TOMBOY In 1986 Dutch broadcasting organisation VPRO sent director Bram van Splunteren and Flemish journalist Marcel Vanthilt off to New York to document the budding hip hop scene, which was then on the brink of ascending to its golden age peak. GSFF18 screens the resulting gem – which resurfaced after 25 years and was subsequently named one of The Guardian’s top ten music documentaries of all time – accompanied by a selection of hip hop-related shorts.
riots all over the city. “The original focus of the film was going to be on Talib Kweli and Michael Brown’s family, but it evolved organically since we had no idea what would happen. The concert was insane; Common’s performance was epic. No one knew the police had just shot another young black male – it hit everybody in the stomach. Later that night, after the chaos, we went all over St. Louis trying to find a hotel room, but nobody would rent to us. It was crazy, like being in a war zone.”
Black America Again, directed by Selma cinematographer Bradford Young and executive produced by Ava Duvernay, is a beautiful meandering look into America’s black communities, with Common rapping on the streets, while the hallucinatory, Nabil-directed Vince Staples short Prima Donna takes us into the rapper’s surreal nightmare, with a nod to The Shining. In Gatekeeper, singer-songwriter Jessie Reyez recounts the true story of the sexual intimidation and power abuse she experienced as an upcoming artist in the music industry, a timely video for the #MeToo movement. Not all doom and gloom however, as we grab any excuse to bring back Borscht pals Jillian Mayer and Lucas Leyva’s off-kilter reinterpretation of Chris Marker’s classic La Jetée, featuring 2 Live Crew’s Uncle Luke in the lead role.
It’s a timely film, considering the current political changes and social unrest in the US. In recent years the Black Lives Matter movement has won increased attention globally. However, the filmmakers are seeing a much broader picture than that portrayed in the media. “The real movement is not Black Lives Matter. There are many people who have been in this fight for justice for decades, and they have effectively organized and created much of the change that is seen today. No matter whether we are speaking of the US, Africa or South America, the real movement is the ushering in of righteousness, consciousness, and self-independence. Unfortunately for people who suffer from oppression daily in the US, our condition is as it was during prior administrations.”
Nestled in the middle of the programme is the documentary #Bars4Justice, about hip hop activist and rapper Jasiri X, directed by Queen Muhammad Ali and Hakeem Khaaliq. Ahead of their Scottish premiere, Ali and Khaaliq spoke to us about the close relationship between hip hop culture and activism.
Likewise, with hip hop culture, they are seeing a host of concerns that are being clouded by mainstream media and consumerism. “We all know there is a difference between hip hop and mainstream rap. Hip hop is a culture created by black and Puerto Rican youth, to address the black struggle and give people a voice. Today, if you come from a poor community and think the only way to become successful is to sell out, you are what we call at-risk youth. The record labels and corporate giants use people to sell Gucci bags, vodka and Cadillacs, but music, art and culture are the fundamental essentials of every revolution. Afrika Bambaataa, one of the founders of hip hop, turned gangbangers into artists by aligning them and educating them about black history. He influenced killers to battle using dance and MC’ing rather than guns and knives. We don’t want our fight for freedom to become a fad. Reconnecting the youth to the true history of hip hop is the only real way to continuously fuel the movement. Without a thorough knowledge of our history, we will not be able to change our future.”
“Before the term activism was popular, groups like Public Enemy, Brand Nubian, KRS-One, and Rakim used hip hop to shed light on social inequality, police brutality, and poor education in the inner cities. Those songs reached the entire earth and sparked a cultural revolution. Initially #Bars4Justice was created and launched as an Instagram freestyle contest for the twentieth anniversary of the Million Man March. When Jasiri X came to town we asked him to be part of the contest. Soon after we launched it, Talib Kweli sponsored a free benefit concert in Ferguson where Jasiri was also asked to perform.” Ali and Khaaliq were invited to document the concert, which marked the one-year anniversary of Michael Brown’s death at the hands of the police. On the night of the gig, another black man was shot, resulting in
Sanne Jehoul
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BIG FUN IN THE BIG TOWN + HIP HOP SHORTS
Saturday 17 March (20.45) Civic House // 4h30m // N/C 18+
BLACK AMERICA AGAIN
PRIMA DONNA
#BARS4JUSTICE
USA // 2016 // 22m
USA // 2016 // 10m
USA // 2015 // 9m
A visual celebration of the beauty, strength, perseverance and spirit of the Black community in these troubling times, inspired by Common's 'Black America Again'.
Some of Vince Staples' most innovative and surreal visuals come together in this film made to accompany his 'Prima Donna' EP. Staples drifts from a shoot into a fever dream which becomes a disturbing allegory for the inescapable anxiety of fame.
A hip hop activist gives more than his talent when he comes face to face with the justice system in Ferguson, Missouri.
Director: Bradford Young Producer: Erin Wile Screenplay: Bradford Young Cinematography: Maceo Bishop Editing: Marc Thomas Music: Common Director's filmography: First film Contact: marc@rockandrollcity.com
Director: Nabil Elderkin Director's filmography: (Selected) Kendrick Lamar: DNA (2017), FKA Twigs: Two Weeks (2014), Frank Ocean: Pyramids (2012), Seal: Secret (2010) Contact: n@nabil.com
FOLLOWED BY:
AFTER-PARTY BY TOMBOY Glasgow-based all female rap/grime/trap night, featuring female grime MC Madders Tiff.
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Director: Hakeem Khaaliq, Queen Muhammad Ali Cinematography: Hakeem Khaaliq Editing: Hakeem Khaaliq, Queen Muhammad Ali Director's filmography: The Last Maitai (2016), #War on Us (2016) Contact: queen@mobileregime.com
GATEKEEPER Canada // 2017 // 13m Singer-songwriter Jessie Reyez recalls an incident early in her career involving an abuse of power. Director: Peter Huang Producer: Katy Maravala Cinematography: Devin Karringten Editing: Paul Skinner Director's filmography: (Selected) Jessie Reyez: ‘Great One’ (2017), Rihanna ft. Drake: Work (2016), 5 Films About Technology (2016), The Boy (2015), Sleepless (2014) Contact: james@madrukent.com
LIFE AND FREAKY TIMES OF UNCLE LUKE
BIG FUN IN THE BIG TOWN
USA // 2012 // 12m
USA, The Netherlands // 1986 // 40m
Uncle Luke (Luther Campbell of 2 Live Crew) changes the face of hip-hop, is elected mayor of Miami and survives a nuclear meltdown. Director: Jillian Mayer, Lucas Leyva Producer: Jillian Mayer, Lucas Leyva Screenplay: Lucas Leyva Cinematography: Jonathan David Kane Editing: Lucas Leyva Production Design: Jillian Mayer Music: 2 Live Crew. Michael-John Hancock, Brian Robertson Sound: Seripadeshirt, Cory Czajkowski, Diego Meza-Valdes
A cult documentary about Hip Hop and its cultural birthplace, including interviews with LL Cool J, Run DMC, Grandmaster Flash and more. Director: Bram van Splunteren Director's filmography: (Selected) Jesus of Java Street (2016), Project Fear (2014), Everything for your Child (2013), The Millions of Women I Could Get (2007), Onrust (1991), Contact: t.nguyen.thi@vpro.nl
Director's filmography: (Selected) Kaiju Bunraku (2017), #PostModem (2013), Adventures of Christopher Bosh in the Multiverse (2013), I Am Your Grandma (2011) Contact: jillianmayer@gmail.com
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LADIES OF THE NIGHT
Thursday 15 March (21.30) Civic House // 1h30m // N/C 15+
Last year’s programme When I Say Vagina… was born as a response to Trump’s rape-condoning remarks and the incredible global Women’s March. One year later, in the era of #MeToo and #TimesUp, we naturally want to continue the sentiment. While trawling through our many submissions for GSFF18, we noticed several films that have strong, unconventional and sometimes slightly wicked female characters at their core. Films that also all had a cult vibe about them, a midnight movies quality. And so we considered the message these filmmakers were sending, about women taking charge in environments that historically have been unsafe for them, in roles that give them an agency not often allowed in a male-dominated world. We’re consciously showing them in this late-night context, because of their characters and subject matter, but also in line with Reclaim the Night, in protest against sexual violence, against unsafe environments for women, particularly during evening times. We should not have to worry about how we make our way home at night, about who we’re with, yet we still do. We still battle against chauvinistic black and white notions of what does and doesn’t belong to rape culture, we still battle against victim blaming, made increasingly apparent in women’s testimonies that have flooded our media and courts in recent months. In most women’s cases, battling is not even an option. And so we present Ladies of the Night, a collection of films that all stick a middle finger to the patriarchy, to conventional ideas of women’s roles and attitudes. All films feature strong female characters, and all but one film have been made by female directors. GSFF regular Jennifer Reeder’s newest work All Small Bodies features two young girls taking the lead in a sci-fi take on the Hansel and Gretel story. In It’s Easier to Raise Cattle by Malaysian filmmaker Amanda Nell Eu a teenage girl realises her new friend is a Pontianak, a female vampiric demon, while in Jimmy Dean’s coming-of-age short V a 16-year old vampire in London looks back at past relationships in a reflection on adolescence and isolation. Melina Maraki provides us with another mysterious female character in Tricks, as a girl takes particular and questionable interest in a male bookshop worker, and in Joey by Glasgow filmmaker Helen Wright a young queer woman’s troubled dating life sets off her telekinetic powers. We close off with Hanna Aqvilin’s documentary Fay Presto: Queen of Close-up, a portrait of the UK’s leading female magician, a transgender woman who has become a top-class late-night entertainer and paved the way for other women in her industry. Sanne Jehoul
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V UK // 2017 // 11m SCOTTISH PREMIERE A sixteen year old vampire begins to reconsider her past relationships. Director: Jimmy Dean Producer: Ellie Gocher Screenplay: Ellie Gocher Cinematography: Anna Macdonald Editing: Peter Schmid Production Design: Greg Bradlaugh Sound: Owen Baldwin Director's filmography: Offside (2015), Charity (2014) Contact: jimmy@jimmydeanfilm.co.uk
ALL SMALL BODIES
TRICKS
Germany // 2017 // 20m SCOTTISH PREMIERE
Australia // 2016 // 7m
A feminist sci-fi take on the Grimm tale of Hansel and Gretel set in the chaotic aftermath of a planetary catastrophe. Amongst the resilient survivors are two young girls, Z and Bub. Director: Jennifer Reeder Producer: Maike Mia Höhne, Laura Heberton, Steven Hudosh Screenplay: Jennifer Reeder Cinematography: Sebastian Bock Editing: Mike Olenick Production Design: Marie-Luise Balzer Music: Casey J Cooper Director's filmography: (Selected) Signature Move (2017), Crystal Lake (2015), Blood Below the Skin (2015), A Million Miles Away (2014), Girls Love Horses (2013), And I Will Rise If Only to Hold You Down (2011), Seven Songs About Thunder (2010), Tears Cannot Restore Her; Therefore I Weep (2010), Accidents at Home and How They Happen (2008), Claim (2007), The Heart and Other Small Shapes (2006), White Trash Girl (1995)
A mysterious girl keeps visiting a bookshop, seemingly interested in its young male attendant. By nightfall, it's clear her motives are dubious. Director: Melina Maraki Screenplay: Melina Maraki Cinematography: Lucas Tomoana Editing: Walter Ratcliffe Production Design: Jasmin Danic Music: James McComb Sound: James Andrews Director's filmography: The Liberation of Harold Kvist (2018) Contact: melinaemaraki@gmail.com
IT’S EASIER TO RAISE CATTLE LAGI SENANG JAGA SEKANDANG LEMBU Malaysia // 2017 // 18m UK PREMIERE Two teenage outcasts form an uncanny friendship in their remote village. As one discovers the other's dark secrets, she observes changes in her new friend, to the point of violence, monstrosity and affection. Director: Amanda Nell Eu Screenplay: Amanda Nell Eu Cinematography: Mahen Bala Editing: Audrie Yeo Production Design: Sharon Chin Music: Armaan Khadar Sound: Armaan Khadar Director's filmography: Seesaw (2013), Pasak (2012) Contact: nelleu@googlemail.com
Contact: serge@ladistributrice.ca
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LADIES OF THE NIGHT (continued)
JOEY UK // 2017 // 10m A lesbian sci-fi about a young woman with telekinetic powers going out on the queer scene for the first time. Director: Helen Wright Producer: Helen Wright, Kayleigh Boyd Screenplay: Helen Wright Cinematography: Caroline Bridges Editing: Viltė Vaitkutė Sound: David McKeitch Director's filmography: Netflix & Chips (2015), Ste McCabe ft. Billy Bragg – Cockroach (2014), Dusty Does Dallas (2014), Bond (2012), ctl.alt. (2011) Contact: helenfwright@googlemail.com
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FAY PRESTO: QUEEN OF CLOSE-UP UK // 2017 // 16m SCOTTISH PREMIERE A documentary portrait of the legendary Fay Presto, the UK’s most in-demand close-up and cabaret magician who would rather die on stage than quit performing. Director: Hanna Aqvilin Director's filmography: Last Dealers on Portobello Road (2016) Contact: hanna@aqvilin.se
ROUND MIDNIGHT This year GSFF received 1701 films through our call for submissions. We selected fifty titles across two competitions. The programming team of seven viewers argued ferociously over certain titles, whilst others were just too uniquely wild to fit comfortably within a competition selection. So we’ve rounded up some of the freakiest films submitted to the festival for two special late night screenings of dark comedy, extreme thuggery and a wee bit of kink. To be frank, the programme titles Sex and Violence are facetious red herrings. Undoubtedly there’s a bit of sex in programme one, which features supernatural cults, cottaging and the progressive eco-politics of early 80s porn. And programme two has its fair share of violence, including Limmy-style Grand Theft Auto existentialism and two brothers determined to slaughter the dolphin they believe carries the spirit of their hated father, not to mention our favourite of the latest crop of Borscht films from Miami, a film stuck inside a cheesy early nineties lobster restaurant commercial. But the sex, violence and general weirdness is spread pretty liberally throughout, including two offerings from local schlockmeister Bryan M Ferguson, the film least likely to be shown at a cat video festival, a horrific animation dreamt up by local comic books legend Frank Quitely and a brilliantly funny porn pastiche directed by Tim Robbins’ son. Oh, and did we mention the dead mouse in a tin of beans? Best bring a sick bag.
ROUND MIDNIGHT 1: SEX
Friday 16 March (23.15) CCA Theatre // 1h30m // N/C 18+
UMBILICAL GLUE
HOT WINTER: A FILM BY DICK PIERRE
UK // 2017 // 6m Olga struggles to figure out her bizarre interest in umbilical cords until she discovers a gang of punk navel enthusiasts. Director: Bryan M. Ferguson Producer: Bryan M. Ferguson, Mhairi Henderson Animation: Gyuri Lee Director's filmography: Blockhead (2017), Rubber Guillotine (2016), Flamingo (2016), Caustic Gulp (2015), The Misbehaviour of Polly Paper Cut (2013) Contact: decaying.shapes@gmail.com
USA // 2016 // 18m UK PREMIERE One of the first films in American cinema to address climate change was also a hardcore porno. All sex scenes have been removed in order to avoid distraction from the conscious message. Director: Jack Henry Robbins Producer: Ali Sandler Screenplay: Jack Henry Robbins, Nunzio Randazzo Cinematography: Nate Gold Director's filmography: (Selected) I've Got Levitation (2018), Painting with Joan (2017), Christmas '92 (2016), Ghostmates (2016), Opening Night (2016), Storied Streets (2014), Love (2011), The Portrait Project (2011) Contact: hotwinterfilms@gmail.com
Matt Lloyd
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ROUND MIDNIGHT 1: SEX (continued)
ROUGH UK // 2017 // 7m WORLD PREMIERE A down-and-out romantic attempts to win back his uninterested ex-girlfriend by babysitting her beloved old dog for the weekend.
SIX GOD ALPHABET PETER UK // 2016 // 7m 'Please wake up Peter. Please wake up. You need to learn your alphabet now Peter.' Director: Peter Millard Producer: Peter Millard Sound: Skillbard
Director: Paul McGinness Producer: Ryan Pasi, Paul McGinness Screenplay: Paul McGinness Cinematography: Sean McDonald Editing: Matthew O'Donnell Production Design: Chloe Fawcett Sound: Gavin Brown Animation: Penny Sharp
Director's filmography: Unhappy Happy (2015), Fruit Fruit (2013), Boogodobiegodongo (2012), Left Nude (2012), Hogan (2011), Custard (2010), I bought some really nice apples the other day (2009), Bluuuurgh (2009)
Director's filmography: First film
Contact: hellopetermillard@gmail.com
Contact: ryan.pasi@gmail.com
SHADOW ANIMALS Sweden // 2017 // 22m UK PREMIERE Marall follows her parents to a party and they want her to behave. As the evening progresses she finds the adults’ behaviour increasingly strange. Marall also seems to be the only one seeing the shadow circulating inside the house. Director: Jerry Carlsson Producer: Frida Mårtensson Screenplay: Jerry Carlsson Cinematography: Marcus Dineen Editing: Philip Bergström, Jerry Carlsson Sound: Janna Johansson, Manne Kjellander Director's filmography: (Selected) About Sex (2015), All We Share (2014), Along the Road (2011), Coming Out (2011) Contact: jing.haase@filminstitutet.se
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CALL OF CUTENESS
ISLANDS
Germany // 2017 // 4m
LES ÎLES
We sit, safe and sound, watching the highest-grossing cat fail compilation. But everything that is usually concealed is for once revealed in this consumerist nightmare.
France // 2017 // 24m SCOTTISH PREMIERE
Director: Brenda Lien Producer: Brenda Lien Director's filmography: Call of Beauty (2016), Striated Stone Meets Fragile Ideals (2015), Contours (2013) Contact: markus@augohr.de
Characters wander through an erotic maze of love and desire. Director: Yann Gonzalez Producer: Emmanuel Chaumet Screenplay: Yann Gonzalez Cinematography: Simon Beaufils Editing: Raphaël Lefèvre Production Design: Gabrielle Desjean Sound: Damien Boitel, Xavier Thieulin Director's filmography: (Selected) Un couteau dans le coeur (2018), You and the Night (2013), We Will Never Be Alone Again (2012), Land of my dreams (2012), I Hate You Little Girls (2008), Intermission (2007), By the Kiss (2006) Contact: productionsaka@yahoo.com
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ROUND MIDNIGHT 2: VIOLENCE
Saturday 17 March (23.15) CCA Cinema // 1h30m // N/C 18+
GREAT CHOICE!
PIGEON MAN
USA // 2017 // 7m
UK // 2017 // 2m WORLD PREMIERE
A woman gets stuck in a Red Lobster commercial. Director: Robin Comisar Producer: Melody Roscher, Craig Shilowich Screenplay: Robin Comisar Cinematography: Matt Clegg Editing: Robin Comisar Production Design: Meredith Lippincott Music: Meade Bernard Sound: Patrick Southern Director's filmography: Mom Died (2016) Contact: heyrobinwhatsup@gmail.com
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A Glaswegian man tells the story of his meteoric rise to the top of the milk business (and his subsequent, calamitous fall). Director: Callum Leemkuil-Schuerman, Jessie Ponder Music: Ewan Danks Director's filmography: First film Contact: jessie.r.ponder@gmail.com
MARTIN CRIES
NOTHING TO DECLARE
MOUSE
MARTIN PLEURE
UK // 2017 // 8m
France // 2017 // 16m SCOTTISH PREMIERE
An adventurous young backpacker returns home for Christmas, eager to see his family, only to discover he has unintentionally triggered a catastrophic chain of events.
USA // 2017 // 11m SCOTTISH PREMIERE
Imagine you wake up one day, and all of your friends have disappeared. You look everywhere – every hiding place, each inch of the city, all the marshes, all the rivers. You look, but cannot find them. Director: Jonathan Vinel Editing: Caroline Poggi, Jonathan Vinel Sound: Victor Praud, Lucas Doméjean, Romain Anklewicz Director's filmography: Jessica Forever (2018), After School Knife Fight (2017), Our Legacy (2016), Our Love is Powerful Enough (2014), As Long as Shotguns Remain (2014), Prince, Power, Memories (2012), Play (2011)
Director: Will Adams Producer: Mal Young Screenplay: Frank Quitely Director's filmography: (Selected) Bitesize Scottish Texts – BBC Learning (2016), WW1 – My Life & Family – BBC Learning (2014), Terrafarmer (2008) Contact: mal@studiotemba.com
Vanessa and Danny are down on their luck, so when an unlikely can of Unica brand beans falls to their kitchen floor, they aim to squeeze out every penny. Director: Celine Held, Logan George Cinematography: Lowell A Meyer Director's filmography: Valencia Road (2017), Fever (2017) Contact: elo@elofilms.com
Contact: productionsaka@yahoo.com
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ROUND MIDNIGHT 2: VIOLENCE (continued)
BLOCKHEAD UK // 2017 // 6m One man's trip to paradise takes a bizarre turn when he develops a fixation with the motel ice machine. Director: Bryan M Ferguson Producer: Bryan M Ferguson Director's filmography: Umbilical Glue (2017), Rubber Guillotine (2016), Flamingo (2016), Caustic Gulp (2015), The Misbehaviour Polly Paper Cut (2013) Contact: decaying.shapes@gmail.com
OUR OLD MAN (AND THE SEA) NUESTRO VIEJO (Y EL MAR) Spain // 2017 // 30m EUROPEAN PREMIERE Two brothers believe that their father's spirit has been reincarnated in a dolphin. They cannot support the idea that their father is enjoying such freedom. Director: Lander Camarero Producer: Gorka Zalacain Screenplay: Lander Camarero Cinematography: Juantxo Sardon Editing: Lander Camarero Music: David Alonso Sound: Ernesto Santana Animation: Kote Camacho Director's filmography: The Coffee Advisors (2017), A Revenge Story (2015), A Serious Comedy (2014), A Political Story (2013), What About Columbus (2012), Leyre et Laurent (2006) Contact: gzalakain@gmail.com
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WE NEED TO DISAGREE A spectre is haunting Europe. The spectre of nationalism. And it’s neither a friendly ghost nor even well-disguised anymore, as we can witness in many countries nowadays. We don’t even need to take a look at the young democracies of Eastern Europe where the thought of relocating refugees according to a fair distribution key leads to hate speeches and anger against the European Union. And we don’t need to feel superior anymore comparing our political developments to those in the United States or in Turkey where opponents are either publicly attacked or even locked up. We, the so-called Old Europe with our old values, proud of our humanist achievements and solid democracies, we are struggling. And we, its mindful and vigilant citizens, feel a certain unease that keeps continuously growing.
But liberties apparently need to be pursued constantly, and a view of the world where clear borders on a map also correspond to the borders of our cultural environments now seems incredibly restricting. In 1950 the French foreign minister Robert Schuman, the founding father of the European Coal and Steel Community and therefore of the European Union, declared that the project of a united Europe will not be made all at once, or according to a single plan. “It will be built through concrete achievements which first create a de facto solidarity.” In the years that followed people started to fight for their rights and for their liberties. In 1965 Martin Luther King Jr. asked how long it will take until prejudices are overcome: “How long? Not long, because the arc of the moral universe is long, but it bends towards justice.”
In Great Britain, the Brexit vote anticipated the anti-solidarity wave that swept away the foundation of a united Europe. In Spain, the Catalan independence movement gained momentum and held a referendum, but the outcome was subsequently declared illegal by Spanish courts. Just a few months ago in Austria, the conservatives built a coalition with the far right nationalist party which has repeatedly demanded a referendum on continued membership of the European Union. The divisions in public discourse in each of these countries have become more pronounced, more bitter than at any point in the European Union’s short history. This collaboration between three festivals from Spain, Austria and the UK tackles those paradigmatic developments in European society.
Today, fifty years after the struggles for personal liberties and free expression of 1968, it seems we have handed over our societal standards and values to populists and social media filter bubbles. It is polarisation instead of debate, taking sides instead of engagement, nationalism instead of collaborative concepts. But although we disagree constantly, have we forgotten to disagree properly? About how to shape our society, about the relation between freedom and security, about degrees of individuality and solidarity. Disagreement can be valuable if it’s done constructively and courageously. And we need to disagree, to argue: to listen, pause, reconsider, and then speak – and at the same time resist the assault on progressive achievements.
For most post-war generations it is no wonder that the concept of a nation is a source of unease, and nationality is seen as a burden rather than, let’s say, a source of inspiration. It is hard to imagine that just a couple of centuries ago “nation” was the subject of poetic idealism and in the 19th century captured all of Europe, whose old régimes were subsequently carried away by a wave of revolutions. The Spring of Nations brought a promise of immense liberties to the hopeful citizens of the new Nation States. In some cases, as it was with the Arab Spring in 2010, this promise still very much rings true. It sounds like everything the rest of us came to expect from our modern political states as if we could continue to build on the foundations of these humanist ideals.
This triangle programme from the UK, Austria and Spain takes a closer look at three European countries in turmoil—and although different in concept and curation, the films in these programmes remind us of the recent past and that democracy is about the vital act of participation. They invite us to do something, to engage, to react. To not remain content with only the narratives that reach us because they are the loudest. Even when it’s uncomfortable. And even when we disagree and argue about the way how our future should be shaped. Because this is the way to empowerment. Daniel Ebner, Bojana Bregar
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WE NEED TO DISAGREE 1: THE WILL OF THE PEOPLE
Thursday 15 March (19.00) CCA Cinema // 1h30m // N/C 15+
The Brexit vote took place on 23 June 2016. A year later, on 14 June 2017, the Grenfell Tower fire in North Kensington took the lives of 71 people. This programme draws a direct connection between these two apparently unrelated events, taking as its starting point the question of what it means for already marginalised communities to find their exclusion from a romantic narrative of nationhood endorsed by referendum. The entirely avoidable tragedy of Grenfell Tower, inhabited predominantly by people of colour, many of them immigrants and refugees, exemplifies what happens when society turns against difference. When MPs on both sides of the political divide normalize the phrase “white working class”, and campaign on behalf of this formation, people of colour are – directly or indirectly – identified as the source of white people’s problems. This allows national discourse to be framed in terms of who ‘belongs’ here. The Brexit vote was narrowly won on such toxic lines, and quickly became identified by opportunistic politicians as ‘the settled will of the people’. In this climate, it is easy for a local council to dismiss repeated explicit warnings about the safety of a public-owned building in pursuit of profit and gentrification. National identity is a delicate concept, founded on tolerance and compromise between diverse, often competing groups. The six films in this programme collectively portray black British identities and hidden histories, proposing that stories of resistance and community action are vital parts of British nationhood. The will of the people is anything but settled. Matt Lloyd
WHO ARE WE? UK // 2016 // 4m On the 23rd of June 2016 Britain voted to leave the European Union. John Smith responded by re-working material from a BBC television debate transmitted a few weeks earlier. Director: John Smith Director's filmography: (Selected) Steve Hates Fish (2015), Dark Light (2014), Dad’s Stick (2012), Soft Work (2012), Horizon (Five Pounds a Belgian) (2012), The Man Phoning Mum (2011), Unusual Red Cardigan (2011), Flag Mountain (2010), Hotel Diaries (2001–7), Worst Case Scenario (2001–3), Lost Sound (collaboration with Graeme Miller) (2001), Regression (1999), The Waste Land (1999), The Kiss (collaboration with Ian Bourn) (1999), Blight (1996), Home Suite (1993–4), Gargantuan (1992), Slow Glass (1988–91), The Black Tower (1985–7), Om (1986), Shepherd's Delight (1980–4), The Girl Chewing Gum (1976), Leading Light (1975), Associations (1975) Contact: info@johnsmithfilms.com
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RANDOM WHITE DUDES
JUS SOLI
STREET 66
UK // 2017 // 4m
UK // 2015 // 15m
UK // 2018 // 13m
Mercury Prize-winning band Young Fathers respond to 'Looking Good', the Scottish National Portrait Gallery's exhibition exploring male image and identity. Issues of privilege and inequality, as well as conventions of historic portraiture, are confronted.
A film which aims to opens up a discourse on the Black British experience; interrupting the emotional transition between generations and questioning what it means to be British.
A documentary about Ghanaian housing activist Dora Boatemah and the Angell Town community in Brixton, London, fighting for better housing conditions. Central to her work was the right of tenants to vote on the future of their own estates. Dora died in 2001 at the age of 43.
Director: Young Fathers Screenplay: Kayus Bankole, Tim Brinkhurst Cinematography: Black Barn Media, G Hastings Editing: Black Barn Media Music: Young Fathers
Director: Somebody Nobody Producer: Somebody Nobody Screenplay: Somebody Nobody Cinematography: Annika Summerson Editing: Hiran Balasuriya Production Design: Music: Sami El-Enany Sound: Sami El-Enany
Director's filmography: First film
Director's filmography: Nothing Said (2017)
Contact: jleslie@npg.org.uk
Contact: simon.jenkins @somebodynobody.co.uk
Director: Ayo Akingbade Producer: Ayo Akingbade, Lewis Taylor Cinematography: Edwin Mingard Editing: James Wreford Music: Oliver Palfreyman, Daniel Ben-Hur Director's filmography: Tower XYZ (2016), In Ur Eye (2015) Contact: ayoeakingbade@gmail.com
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WE NEED TO DISAGREE 1: THE WILL OF THE PEOPLE (continued)
CIVIL RITES
TOWER XYZ
UK // 2017 // 28m
UK // 2016 // 3m
An exploration of the core themes of poverty, racism and war that continue to haunt our lives, taking as its starting point Martin Luther King’s 1967 speech given on receipt of his honorary doctorate from the University of Newcastle. Interviews with more than two dozen older and recently arrived residents, housed and un-housed, community organisers, passers-by, educators and others are located in dialogue with key sites of resistance from across the Tyneside region and across the centuries.
Accompanied by a lilting soundtrack, characters wander through London’s concrete jungle as the narrator reflects on the current state of the city and her imagined future.
Director: Andrea Luka Zimmerman Sound: Steven Connolly Director's filmography: Erase and Forget (2017), Estate, a Reverie (2015), The Film That Buys the Cinema (2014), Merzschmerz: Lucky Hans (2014), Merzschmerz: The Flying Fish (2014), Merzschmerz: The Good Man (2014), Merzschmerz: Tiny Mouse (2014), Tashkafa: Stories of the Street (2013), Towards Estate (2012), The Ramp (2010), The Last Biscuit (2006), The Delmarva Chicken of Tomorrow (2003), Science Without Effect (1997) Contact: chloe.barker @tynesidecinema.co.uk
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Director: Ayo Akingbade Producer: Ayo Akingbade, Gabby King Cinematography: Edwin Mingard Music: Ommetis Director's filmography: Street 66 (2018), In Ur Eye (2015) Contact: ayoeakingbade@gmail.com
WE NEED TO DISAGREE 2: OF ISLANDS AND SCAPEGOATS
As a reaction to financial globalisation and social cut-backs political hopes are increasingly placed in nationalism. But how can you pretend to be an isolated island when you’re part of a large system? A lesson in successful scapegoatism using the example of a small country in the heart of Europe. Curated by Daniel Ebner, VIS Vienna Shorts
Saturday 17 March (15.00) CCA Cinema // 1h30m // N/C 15+
AUSTRIA!
NORMALITY 5 & 6
ÖSTERREICH!
NORMALITÄT 5 & 6
Austria // 2001 // 4m
Austria, Germany // 2001 // 9m
Austria. Again and again. Repeatedly. Austria, Austrian, the Austrians, Austrian-wide, the only Austrian, the country, in the country, the whole country.
Hito Steyerl offers a richly detailed report on the growing number of anti-Semitic and racist attacks – on cemeteries, monuments and human beings – in Austria and Germany.
Director: Hubert Sielecki Director's filmography: Dialogue on Austria (2013), Austria (2001), Air Fright (1995), The Ballad of Maria Lassnig (1992), News (1983) Contact: husi@chello.at
Director: Hito Steyerl Cinematography: Marcus Carney, Hito Steyerl Music: Arnold Schoenberg Director's filmography: The Empty Centre (1998), Babenhausen (1997), Land of Smiles (1996), Germany and the Self (1994) Contact: office@sixpackfilm.com
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WE NEED TO DISAGREE 2: OF ISLANDS AND SCAPEGOATS (continued)
OROGENESIS
FIRST AND FOREMOST
HOMELAND
France // 2016 // 8m
IN ERSTER LINIE
HEIMAT
Mountainous landscapes or microscopic surfaces? A fascinating visual experiment of digital image distortion.
Austria // 2016 // 6m
Belgium // 2016 // 15m
Documentation of overburdening. Elusive shapes, reminiscent of geographical borders, pass by our eyes.
An ironic caricature of life in the Flemish suburbs, which reflects the current European zeitgeist. Right wing populism is most popular in quiet, white neighbourhoods, where people are shielded from different cultures and lifestyles.
Director: Boris LabbĂŠ Music: Daniele Ghisi Director's filmography: Rhizome (2015) Contact: borislabbe@gmail.com
Director: Veronika Schubert Director's filmography: Calle San Francisco (2011), Ink Eraser (2009), Diversity (2007), Tele-Dialog (2005), Knitting with Vroni (2004) Contact: v.schubert@mac.com
Director: Sam Peeters Cinematography: Silvian Hettich Director's filmography: First film Contact: sampeeters4@gmail.com
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DRAFTS
POLONAISE
HOW LONG, NOT LONG
ENTWĂœRFE
POLONEZ
Israel // 2016 // 6m
Austria // 2013 // 22m
Poland // 2016 // 16m
In the past, exploitation of the Erzberg brought jobs to the Styrian community; today, hope rests on the planned detention centre for asylum seekers.
In a small Polish town the director of the local culture centre announces a competition. The theme: a creative presentation of your personal patriotic attitude.
A visual journey that challenges us, in an age of intolerance, to think about a universal belonging that doesn’t confine itself to a city, region or national boundary.
Director: Juri Schaden Cinematography: Lisbeth Kovacic
Director: Agnieszka Elbanowska Producer: Ewa Jastrzebska Cinematography: Pawel Chorzepa
Director's filmography: Heroes' Square (2017), Moving South (2011) Contact: office@sixpackfilm.com
Director's filmography: The First Pole on Mars (2016), Newanda by Henryka Fasta (2013), Witaj Henryku (2012), Liberta (2008) Contact: katarzyna@kff.com.pl
Director: Michelle Kranot, Uri Kranot Producer: Marie Bro Screenplay: Michelle Kranot, Uri Kranot, Erik Gandini Director's filmography: Hollow Land (2013), White Tape (2010), The Heart of Amos Klein (2008), God on our Side (2005), Fallout (2003), Ducks (2002), Avinu Malkenu (2001) Contact: urikranot@yahoo.com
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WE NEED TO DISAGREE 3: THE PERSONAL AND THE POLITICAL We find ourselves at another crossroads. A never-ending meeting point between contemplation, ideas, conflict, decision. The seven films in this programme explore aspects of contemporary society, making a case for the idea that memory, identity, gender, labour, family, sexuality are still at the heart of our struggle for progress and equality. Progression, regression, remembering, forgetting, speaking out and holding back. And the beating heart belongs to you, me, us. Curated by Tess Renaudo, L'Alternativa, Festival de Cinema Independent de Barcelona
Sunday 18 March (15.15) CCA Cinema // 1h30m // N/C 15+
ROOTS
PEDRO M
Spain // 2004 // 1m
Switzerland, Spain // 2015 // 27m
From clear to muddy waters. A prologue.
Pedro Martín was the cameraman who filmed the abortive coup live from the Spanish parliament on 23 February 1981.
Director: Daniel Cuberta Director's filmography: A Small Universal Song (2016) Contact: danielcuberta@gmail.com
Director: Andreas Fontana Producer: Andreas Fontana, Marie-Eve Hildbrand, María Gómez de Liaño Director's filmography: Dans nos campagnes (2011), Gaucho (un retour) (2010), Quelle choses (les amis) (2010), Cotonou Vanished (2009), Va le chanter a gardel (2008) Contact: fontana@terrainvague.ch
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COMING OUT
THE CORPSE OF TIME
DITCH
Spain // 2015 // 4m
EL CADÁVER DEL TIEMPO
AREKA
An exploration of the growing trend to share personal experiences online, using footage found on YouTube.
Spain // 2016 // 13m
Spain // 2017 // 6m
A dictator's imagery is everything. We must destroy these images if we want to build a future of our own.
A creative collaboration of twenty young artists, exploring collective memory and 'bersolarismo' – traditional Basque culture.
Director: Luis E. Parés
Director: Atxur Animazio Taldea Producer: Patxi Azpillaga Editing: Edu Elosegi Music: Andoni Egaña Animation: Bego Vicario, Paula Huarte, Miriam Inza, Jugatx Astorkia, Itxaso Navarro, Beñat Barandika, Usue Egia, Esteban Ramos, Naiara Gallego, Sergio Martínez, Aitor Oñederra, Kote Camacho, Oihana Leunda, Arrate López, Izibene Oñederra, Alots Arregi, Andere Molinuevo, Ximon Agirre, Jon Munarriz, Zaloa Ipiña
Director: Florencia Aliberti Director's filmography: Packers (2015), Am I Pretty? (2015), Cosplay (2014), Watch me shrink (2014), Am I? (2012), Daily Routine (2012), Horror Vacui (2012), Prosthetic I (2011), Variations sober Alicia (2011) Contact: flor.aliberti@gmail.com
Director's filmography: Aidez l'Espagne (2014), Mi ideología. Variaciones sobre un concepto (2013), El absurdo (2010) Contact: luisepares@hotmail.com
Director's filmography: First film Contact: kimuak@filmotecavasca.com
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WE NEED TO DISAGREE 3: THE PERSONAL AND THE POLITICAL (continued)
ORGANISING THE IMPOSSIBLE
A SMALL UNIVERSAL SONG
ORGANIZAR LO (IM)POSIBLE
UNA CANCIONCILLA UNIVERSAL
Spain // 2017 // 14m
Spain // 2016 // 1m
Chambermaids have just fifteen minutes to clean a hotel room. While they work, members of Las Kellys discuss their situation and their plans to organise action.
In the end, they all play together. An epilogue.
Director: Carme Gomila, Tonina Matamalas Producer: Carme Gomila, Tonina Matamalas Editing: Carme Gomila Music: Aurora Bauzá Animation: Tonina Matamalas, Maráa Berzosa, Katu Huidobro, Donata Schmidt-Werther Director's filmography: First film Contact: carme.gomila@gmail.com
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Director: Daniel Cuberta Director's filmography: Roots (2004) Contact: danielcuberta@gmail.com
TRANSIT ARTS PRESENTS SOFT CELLS Soft Cells is a programme about soft bodies in hard places. The six works of artists’ moving image it comprises each surveil the human body as it resists and submits to the eerie control of contemporary urban life. Through rhythmic abstraction and candid acuity, they deal with isolation, wandering, and incarceration. There’s a prevailing anonymity: frames sever heads, backs are turned, faces are hidden, names are redacted. Denied individuality, these on-screen bodies become proxies for universal experience; faceless protagonists who allegorise and narrate an encounter with the contemporary, a place understood as urban, digital, white-collar, gendered, and global. What they find is vast and strange, a striking and new kind of Gothic. In Kobold's Gesänge (1986) pioneering German video artist Klaus vom Bruch’s nude torso, ghost-white and headless, contorts under the structure of a communications satellite. Bodies are also surveilled and repressed in Fern Silva’s The Watchmen (2017). Shot on 35mm and 16mm, the film builds a psychic landscape around the Panopticon prison: a philosophy of control given architectural form. The human form reaches total abstraction in Christoph Girardet & Matthias Müller’s Manual (2001), where the debris of countless 1960s pulp sci-fi technologies mutate into flesh. Similarly built of appropriated footage, Silva’s intensely associative approach to filmmaking continues through Scales in the Spectrum of Space (2015), a composite of thirty-five works from the Chicago Film Archive that imagines a cosmic and unsettling collective memory of the city through its wanderers. Through the feminist figure of the flâneuse, the city wanderer is explicitly the focus of Glasgow-based artist Tessa Lynch’s The Wave Machine and the Flâneuse (2016). A collaboration with writer Jenny Richards, the unfolding text work documents the movement of two women through the emptied streets of two dark European cities.
From the watched to the watcher, a city block at night leaks an anthology of private moments in Amie Siegel’s The Sleepers (1999). Shown on 16mm, this quietly epic 45-minute study on voyeurism and the cinematic imagination gazes stoically into window-framed vignettes, cells in a grid, punctures in a black infinity. Hitchcockian in its slow unwind, even citing Rear Window’s Lisa Fremont (Grace Kelly) in one audio fragment: “Tell me exactly what you saw and what you think it means”, Siegel’s film savours every eerie uncertainty. This Gothic is a mode, not a genre; it’s a viewpoint, a way of looking at and navigating this realm. It’s an unconscious choice to find something conspicuous in the everyday, to be lured by the sublime potential of things, to follow the void, to feel strange eyes fall on you, and to find pleasure in this terror. It begins at the margins and moves to the centre, an encroaching fog, a tightening aperture. It replaces objectivity with subjectivity, reason with emotion, fact with fiction. Marcus Jack
Soft Cells is part of Uncanny Loop, an ongoing series of artists’ moving image screenings curated by Transit Arts that connects the contemporary urban experience with the Gothic mode. Transit Arts is an itinerant organisation for the exhibition of artists’ moving image, working through public screening programmes and experimental publishing.
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TRANSIT ARTS PRESENTS SOFT CELLS
Thursday 15 March (19.15) Civic House // 1h30m // N/C 15+
KOBOLD'S GESÄNGE
THE WATCHMEN
MANUAL
Germany // 1986 // 5m
USA // 2017 // 10m
Germany, UK // 2001 // 9m
In this composite video, Klaus vom Bruch’s ghostly torso contorts under a pulsating communications satellite. Architecture inscribed on the body, the image allegorises the collapse of the private and public under the spectacle of media technologies. Originally made for Austrian TV, the video coyly critiques its own host.
The panopticon, an architectural model for surveillance and control, yields to the harsh landscape in Fern Silva’s loose portrait of psychic incarceration. Soft bodies, a digital pulse, and subterranean labyrinths converge whilst a voiceover assures: “look at the picture on the television, you are calm, you are watching a re-run.”
Nostalgic for a lost future, switches, tapes, and red alerts gleaned from 1960s pulp sci-fi signal an unknown panic in Christoph Girardet & Matthias Müller’s precise film. At stroboscopic pace, the filmmakers sinuously interweave man and machine, pleasure and pain, arriving at a distinct emptiness fit for the cyborg age.
Director: Klaus vom Bruch
Director: Fern Silva
Director's filmography: Time Without End (1996), Augenzeugen (1993), Azimut (1985), Jeder Schuss ein Treffer (1984), Relativ Romantisch (1983–84), The Seduction of Tondelayo (1983–1998), Der Westen Lebt (1983), Charmant Band (1983), Das Alliertenband (1982), Hood (1981–98), Luftgeister (1981), Das Softiband (1980), Das Duracellband (1980), Propellerband (1979)
Director's filmography: Ride Like Lightning, Crash Like Thunder (2017), Scales in the Spectrum of Space (2015), Wayward Fronds (2014), Tender Feet (2013), Concrete Parlay (2012), Passage Upon the Plume (2011), Peril of the Antilles (2011), In the Absence of Light, Darkness Prevails (2010), Servants of Mercy (2010), Sahara Mosaic (2009), After Marks (2008), Spinners (2008), Notes from a Bastard Child (2007)
Director: Matthias Müller, Cristoph Girardet
Contact: theuszwakhals@li-ma.nl
Contact: fernsilva860@gmail.com
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Directors' filmography: (Selected) Personne (2016), Cut (2013), Meteor (2011), Contre-jour (2009), Maybe Siam (2009), Locomotive (2008), Kristall (2006), Mirror (2003), Play (2003), Beacon (2002), Phoenix Tapes (fragments) (1999) Contact: rentals@lightcone.org
SCALES IN THE SPECTRUM OF SPACE
THE WAVE MACHINE AND THE FLÂNEUSE
THE SLEEPERS
USA // 2015 // 7m
UK // 2016 // 17m
Skyscrapers pierce the cosmos, the city shapeshifts, and wormholes appear in Fern Silva’s rhythmic vision. Comprised of thirty-five works from the Chicago Film Archive, Silva’s associative edit assembles an otherworldly uncanny landscape out of Chicagoan fragments, soundtracked by Jazz musician Phil Cohran, of Sun Ra’s Arkestra.
In the margins of the day, two women pace the empty streets of two dark European cities sharing their experience of female being in the urban landscape. A collaboration between artist Tessa Lynch and writer Jenny Richards, the work nimbly unfolds through casual philosophising on observation, labour, and the body.
Splicing fiction and documentary, Chicago city windows at night leak an anthology of private moments in Amie Siegel’s 16mm study on voyeurism and the cinematic imagination. Cells in a dark grid, each vignette invites narrative speculation, indulged by a soundtrack of fragments: police surveillance, phone calls, dialogue, Schoenberg, Wagner.
Director: Tessa Lynch
Director: Amie Siegel
Director's filmography: First film
Director's filmography: Fetish (2016), Genealogies (2016), Quarry (2015), The Architects (2014), Provenance (2013), Lot 248 (2013), Winter (2013), Black Moon (2010), My Way 2 (2009), My Way 1 (2009), Pitch (2009), DDR/DDR (2008), German People (2007), Empathy (2003), The Proud Scabs (2001), Pasang Naik (The Tide) (1997)
Director: Fern Silva Director's filmography: The Watchmen (2017), Ride Like Lightning, Crash Like Thunder (2017), Wayward Fronds (2014), Tender Feet (2013), Concrete Par-lay (2012), Passage Upon the Plume (2011), Peril of the Antilles (2011), In the Absence of Light, Darkness Prevails (2010), Servants of Mercy (2010), Sahara Mosaic (2009), After Marks (2008), Spinners (2008), Notes from a Bastard Child (2007)
Contact: lynch.tessa@gmail.com
USA // 1999 // 45m
Contact: mail@arsenal-berlin.de
Contact: fernsilva860@gmail.com
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BLUEPRINT: SCOTTISH INDEPENDENT SHORTS
Thursday 15 March (21.00) CCA Theatre // 1h45m // N/C 15+
Scotland’s showcase of grassroots filmmaking returns to GSFF for the third year. This special sci-fi-themed programme is a mix of philosophical speculation, high concept drama and action packed shorts that are – literally – globe-trotting productions. Featuring the work of BAFTA Scotland-nominated and Glasgow 48 Hour Film Challenge-winning filmmakers, this unique programme is comprised of films made on shoestring budgets, but with no lack of talent, ingenuity and creativity on display. All films featured in this programme will participate in the new Hilton Earl Memorial Award, a new audience award for the best Blueprint film of the year. The Hilton Earl Memorial Award is supported by Visual Impact Scotland. The winner will receive a kit hire package to the value of £500 for their next DIY short film. The producers will also receive consultation on how to package the best deal to meet their production needs. Massive thanks to Visual Impact Scotland for supporting truly independent short film. Hans Lucas
DESTINY UK, Nigeria // 2017 // 6m UK PREMIERE Destiny has the ability to manipulate time. When she saves a young girl from a fatal accident, she realises that altering her timeline places herself at greater risk. Director: Justice John (Justice Onojaefe) Sound: Abib Adebayo Olaore Director's filmography: First film Contact: cre8tivefilmsscotland @gmail.com
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DISCOVER
ELECTRIC FACES
UK // 2017 // 4m WORLD PREMIERE
UK // 2015 // 11m
A man makes a discovery which drastically alters his understanding of our place in the universe. He could tell the world, but who would believe him? Director: David McCann Music: Rebecca Buddy Director's filmography: The Beginning (2016), Moment (2015) Contact: davidwmccann@hotmail.co.uk
In a dystopian future, a desperate crook's plans for the perfect robbery are thrown into chaos by a cantankerous bank guard and an increasingly unstable robot accomplice. Director: Johnny Herbin Producer: Chris Quick Screenplay: Johnny Herbin Cinematography: Darren Eggenschwiler Editing: Chris Quick Production Design: Music: Daniel McLearnon Sound: Omar Aborida, David McKeitch Director's filmography: Untitled Short Film (2018), Mugging for Amateurs (2012) Contact: mrcquick@googlemail.com
MIA: A RAPTURE 2.0 PRODUCTION UK // 2018 // 20m WORLD PREMIERE In an apocalyptic near-future, Mia arrives at Ray's doorstep seeking shelter. Through bonding and survival, the pair begin to question what it means to be human. Director: Gary J Hewitt Producer: Diane Brooks Webster Screenplay: Gary J Hewitt Cinematography: Steve Johnson Editing: Gary J Hewitt Production Design: Music: John McFarlane Sound: Alistair Biggar, Scott Walker Director's filmography: Cleek (2017), Stitched Up (2017) Contact: hewittgary@hotmail.co.uk
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BLUEPRINT: SCOTTISH INDEPENDENT SHORTS (continued)
THE QUIET
INVASION
RUNNER
UK // 2017 // 13m
UK // 2018 // 18m WORLD PREMIERE
UK // 2017 // 15m UK PREMIERE
A Glasgow taxi driver picks up a mysterious stranger and becomes embroiled in a sinister citywide operation.
A confused, amnesiac man awakes in a wilderness. He learns his memory has been wiped by 'the enemy', and that he is being pursued by a mysterious assassin.
When it is revealed that God may actually exist, what are the consequences for humanity? Director: Vito Milazzo Producer: Janine Koppe Screenplay: Vito Milazzo Cinematography: Alan C McLaughlin Editing: Vito Milazzo Music: David Cicero Sound: Ludovic Barrier, Claire Asenova Director's filmography: Writer's Block (2016), February 29th (2015), Referendumb (2014), Fight (2012) Contact: vito@thebowlinggreen.tv
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Director: Ian Hendry Producer: John Gilchrist, Pineda Thomson Screenplay: Ian Hendry Cinematography: Alyn J Smith Editing: Ian Hendry Music: Christoper Besley Sound: Tom Hemblade
Director: Graeme Watt Producer: Graeme Watt Cinematography: Michael Neal Editing: Graeme Watt Music: Graeme Watt Sound: Drew Millar
Director's filmography: (Selected) Invasion (2017), Submersion (2017), Blizzard (2016), Tanner park (2014), Rainbow Cups (2013)
Director's filmography: The Nebula (2016), Harrison Hawke, Today Is Yesterday's Tomorrow (2015), Hypnotrip (2014), Street Loaf (2014), Fakewood Mac (2012)
Contact: ianwalkerhendry@gmail.com
Contact: 8acrefilms@gmail.com
TEN YEARS OF FILMG Currently, Scottish Gaelic is spoken fluently by approximately 1% of the Scottish population. And yet the number of Gaelic speakers under 20 years old has not dropped in the last twenty years. Gaelic medium education is increasingly popular with parents, significantly in Glasgow and Edinburgh as well as traditional centres of Gaelic culture. Whilst the reasons for its popularity are many and varied – for example GME is as close a model of modern language teaching as UK education gets to that in other western European countries – there’s no question that Gaelic is on the rise. Gaelic culture is extraordinarily rich in terms of music and the spoken and written word. But what of visual culture? What does Gaelic film look like? Whilst Gaelic speakers have a dedicated TV channel, there’s very little support for Gaelic filmmaking, and almost no pressure on central belt based producers and commissioners to seek out or nurture filmmakers working in Gaelic. But perhaps this is set to change, with the establishment of the Young Films Foundation on Skye. An initiative of Chris Young, the leading producer working in Gaelic, the foundation offers residencies on the island for emerging writers, directors and producers, providing the opportunity to nurture their gifts under the guidance and mentoring of some of the leading names in the UK film and television industry. However, one talent development scheme cannot make a whole film culture. That takes painstaking grassroots work over a long period of time. Which is where FilmG comes in. Short film competition FilmG was established in 2008 to encourage Gaelic storytelling through film. FilmG is not a funder of shorts, rather it provides a platform for self-funded or low-budget work, with an annual award ceremony to celebrate the diverse talent working at the fringes of Scottish film culture. Since 2008, more than 650 Gaelic short films have been produced and submitted to the competition. This is vital work in terms of generating a snowball effect: a Gaelic film community that grows in numbers and ambition year by year. The selection of films in this showcase represents the diversity of form and storytelling across ten years of FilmG. Small budgets may mean technical limitations; they do not mean creative shortcomings. It can only be a matter of time before central belt producers recognise the importance of Gaelic filmmaking to Scotland’s wider film culture. Matt Lloyd
Saturday 17 March (13.15) CCA Theatre // 1h30m // N/C 12+
CNAP-STARRA CÀNAIN THE LANGUAGE BARRIER UK // 2010 // 3m A man walking his dog is asked for directions by a most unusual visitor. Director: Ewan Smith Contact for all films: fios@filmg.co.uk
OIDHCHE SHÀMHACH SILENT NIGHT UK // 2012 // 5m Siblings John Norman and Chrissie MacLeod were raised in a Gaelic speaking family in Harris but have never known a word of the language. As Christmas approaches we are offered a glimpse into their shared world. Director: Elly Welch
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TEN YEARS OF FILMG (continued)
A BHEIL THU GAM THUIGSINN?
MANADH
COILEACH-PEUCAIG
FATE
PEACOCK
DO YOU UNDERSTAND ME?
UK // 2013 // 5m
UK // 2014 // 5m
UK // 2016 // 8m
Having escaped the rules and ties which bound him as a child, a man realises the purpose of these in his adulthood.
Following a difficult year of being alone, Ruairidh feels he’s becoming a dab hand at these support groups. Just when it seems he’s keeping on top of things however, Ruairidh learns that he's still got a way to go till he's back on track.
During a car journey, a couple conduct an argument, swapping between Gaelic and English. The film considers differences between languages and how isolating it can be within a relationship if you don’t understand the complexities and idioms of your partner’s speech.
Director: Dòmhnall Eòghainn MacFhionghain
Director: Uillleam Moireach
Director: Suzy Lee
LATHA REIC AUCTION DAY UK // 2010 // 5m A colourful glimpse of contemporary Hebridean crofting life, seen through a day at the cattle sales in Lochmaddy, North Uist. Director: Karen Grant
MAR A THACHAIR DO DH’FHEAR A SGUR A DHOL DHAN EAGLAIS
EICH BHÀNA
THE MAN WHO STOPPED GOING TO CHURCH
A fisherman struggles with his fears and with a feral horse on the North West coast. Wilderness can be both isolating and liberating.
UK // 2017 // 5m The story of a godly young man, disillusioned in the wake of a betrayal of trust. In the midst of his conflict, a stranger invites him on a journey to discover the truth for himself. Director: John Murdo MacAulay
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WHITE HORSES UK // 2017 // 7m
Director: Alison MacPherson
MO CHARAID, MO GHAISGEACH
SIUBHLACHAN THE TRAVELLER
AN SGOIL BHEAG MU DHEIREADH
MY FRIEND, MY HERO
UK // 2009 // 5m
THE LAST LITTLE SCHOOL
UK // 2010 // 5m
A poignant tale about a young girl, Seonag, who travels back in time to visit her recently deceased Grandfather.
UK // 2014 // 5m
Two of the last native Gaelic speakers on the island of Colonsay. Despite their physical disabilities, Flora and Jessie remain heroically independent. They are heroes to the islanders, and they are heroes to each other.
Director: Uisdean Murray
In June 2013, the remote Shelibost School was about to close. Six children would be left along with a void in a community's heart. Director: Dòmhnall Eòghainn MacFhionghain
Director: Rachel Hendry
OBAIR LÀ A WORKING DAY
MÒRAG AGUS AN T-EACH-UISGE
CRÌSDEAN CUNNARTACH
UK // 2011 // 5m
MORAG AND THE KELPIE
RISKY CHRIS
An office worker endures another mundane day behind the desk until a co-worker’s challenge engages his imagination and makes this anything but a routine day.
UK // 2016 // 3m
UK // 2015 // 5m
Some things stay sweet forever. Some things follow you forever. A woman recalls a memory from her university years; a sudden encounter with the bloodthirsty water horse from the pages of a fairy tale, right down to the teeth.
Crìsdean fulfils his lifelong dream of becoming his favourite idol – or does he?
Director: Jenny Forbes
Director: Rachel MacLaren
Director: Anna Krzeszewska
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SHORT MATTERS! SHORT MATTERS! is the European Film Academy’s short film tour, bringing together fifteen award winners at top European festivals in 2017. The winning film at each festival is nominated for the European Film Awards, held in December. The tour showcases work from Austria, France, Germany, Greece, Hungary, Ireland, the Netherlands, Portugal, Romania, Spain, Sweden, Switzerland and Turkey, including the 2017 EFA winner Timecode by Juanjo Giménez, as well as films by GSFF favourites Réka Bucsi and Gabriel Abrantes.
SHORT MATTERS! 1
Friday 16 March (16.45) CCA Cinema // 1h40m // N/C 15+
WANNABE
YOUNG MEN AT THEIR WINDOW
Austria // 2017 // 30m Coco, 17, feels a desperate need to become famous, but seems to lack the necessary talent. So, she builds herself a fictitious world on the Internet. Director: Jannis Lenz Director's filmography: Zero-G (2016), Shadowboxer (2015), Daheim und Dazwischen (2014)
JEUNES HOMMES À LA FENÊTRE France // 2017 // 18m Two graphic designers at work accidentally begin experimenting with the possibilities of an empty scanner. Eventually they open up to each other. They let go of the strange images, and they let go of themselves. Director: Loukianos Moshonas
Contact: markus@augohr.de
Director's filmography: Manodopera (2016)
Clermont-Ferrand International Short Film Festival nominee
Contact: productionsaka@yahoo.com Locarno Film Festival nominee
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THE DISINHERITED
COPA-LOCA
LOVE
LOS DESHEREDADOS
Greece // 2017 // 14m
France, Hungary // 2016 // 14m
Spain // 2017 // 19m
The story of an abandoned Greek summer resort. Paulina is the girl at the heart of Copa-Loca. Everyone cares for her and she cares for everyone – in every possible way.
Affection is described in three chapters, through an impact on a distant solar system. Abstract haiku-like situations reveal a change in atmosphere on a planet, which makes its inhabitants become one with each other in various ways.
A portrait of the director's father facing the end of his family business. Pere Ferres owns a small bus company. He begrudgingly drives disrespectful clients, but he will not sacrifice his dignity. Director: Laura Ferres Director's filmography: In the Doghouse (2014) Contact: info@iniciafilms.com Curtas Vila do Conde – International Film Festival nominee
Director: Christos Massalas Producer: Christos Massalas Screenplay: Christos Massalas Cinematography: Konstantinos Koukoulios Editing: Christos Massalas Music: Σtella Sound: Dimitris Kanellopoulos, George Ramantanis Director's filmography: Flowers and Bottoms (2016) Bon-Bon (2016), Woman with the Plastic Flower (2012), Make-up (2011)
Director: Réka Bucsi Producer: Marc Bodin-Joyeux Director's filmography: Solar Walk (2018), Don't Know Where Going (2016), Symphony no. 42 (2014) Contact: zsofi@daazo.com Uppsala International Short Film Festival nominee
Contact: ioanna@heretic.gr Sarajevo Film Festival nominee
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SHORT MATTERS! 2
Saturday 17 March (17.00) CCA Cinema // 1h40m // N/C 15+
IN THE MOUTH
THE CIRCLE
INFORMATION SKIES
EN LA BOCA
HEVÊRK
Switzerland, Argentina // 2016 // 26m
Turkey // 2016 // 15m
South Korea, The Netherlands // 2017 // 24m
The Molina family live and work in the shadows of the Boca Juniors stadium in Buenos Aires. Selling fake tickets to football games, they face constant conflict with the corrupt police. Director: Matteo Gariglio Screenplay: Matteo Gariglio Cinematography: Andi Widmer Editing: Thaïs Odermatt Music: Dominik Blumer, Roman Lerch, Thomi Christ Sound: Manu Gerber Animation: Mathias Wesselmann Director's filmography: Harlekin (2010), Fuori Dal Gregge (2009) Contact: info@matteogariglio.com Krakow Film Festival nominee
An ordinary school day turns into a life-changing event for Zelal and her introverted admirer Zeki after their teacher introduces the letter of the week, 'O'. Director: Ruken Tekes Director's filmography: First film Contact: rtekes@saryafilms.com International Short Film Festival in Drama nominee
In a forest somewhere in the not-too-distant future, live action, animation and digital abstraction create fragmented territories. Director: Daniël van der Velden, Vinca Kruk Producer: Anna Laederach Screenplay: Daniël van der Velden, Vinca Kruk Cinematography: Remko Schnorr Editing: Daniël van der Velden, Vinca Kruk Music: James Whipple (M.E.S.H.) Animation: Janna Ullrich Director's filmography: Possessed (2017), The Sprawl [Propaganda About Propaganda] (2016), Holly Herndon: Interference (2015), Holly Herndon: Home (2014), City Rising (2014), Black Transparency (2013) Contact: office@metahaven.net International Film Festival Rotterdam nominee
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YOU WILL BE FINE
TIMECODE
GROS CHAGRIN
Spain // 2016 // 15m
France // 2017 // 15m
Luna and Diego are parking lot security guards. Diego does the night shift, and Luna works by day.
Jean celebrates his birthday, gets drunk and recalls the dreadful weekend that led to his break-up with Mathilde. Director: CĂŠline Devaux Producer: Ron Dyens Director's filmography: Sunday Lunch (2015), Vie et mort de l'Illustre Grigori Efimovitch Raspoutine (2012) Contact: distribution@sacrebleuprod.com Venice Film Festival nominee
Director: Juanjo Gimenez Director's filmography: Esquivar y pegar (2010), Rodilla: Cromos para ajustar cuentas con la infancia (2009), Nitbus (2007), Maximum Penalty (2005), Tilt (2001), Indirect Free-Kick (1997), She Is Angry (1995), Special [with Light] (1995) Contact: juanjo@nadirfilms.com Film Fest Gent nominee
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SHORT MATTERS! 3
Sunday 18 March (17.15) CCA Cinema // 1h40m // N/C 15+
FIGHT ON A SWEDISH BEACH
THE PARTY
WRITTEN/UNWRITTEN
Ireland // 2016 // 15m
SCRIS/NESCRIS
Sweden // 2016 // 15m
Belfast 1972. Laurence welcomes his cousin and man-on-the-run Mickey to a party of drinking, dancing and young love. By morning, reality catches up with them.
Romania // 2016 // 20m
Director: Andrea Harkin
Director's filmography: Santul (2012)
Epic beach fight!! This is what happens when you call someone's wife a whore and yell "Sieg Heil". He had it coming. Director: Simon Vahlne Producer: Axel Danielson, Ellen Hallin Screenplay: Simon Vahlne Cinematography: Maximilien Van Aertryck Production Design: Fianna Robijn Music: Eddie Nilsson Sound: Lars Wignell, Gustaf Berger Director's filmography: A Picture in the Head (2013), I Am an Island (2010) Contact: axel@plattformproduktion.se Valladolid International Film Festival nominee
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Director's filmography: (Selected) Lorna (2014), Communion (2011), For Megan (2011), Waterbaby (2010), Remnants (2010), The Flyer (2008) Contact: andreaharkin@gmail.com Cork Film Festival nominee
Pardica, a 50-year-old Roma man, risks being separated from his daughter, who has just had a baby. Director: Adrian Silisteanu
Contact: cord.d@interfilm.de Tampere Film Festival nominee
UGLY Germany // 2017 // 12m An ugly cat struggles to exist in a fragmented and broken world, eventually finding a soulmate in a mystical chief. Inspired by the internet story ‘Ugly the Cat’. Director: Nikita Diakur, Redbear Easterman Producer: Nikita Diakur Music: Cédric Dekowski, Enrica Sciandrone, Felix Reiffenberg Sound: Nicolas Martigne, David Kamp Animation: Bastian J. Schiffer, Gerhard Funk, Nicolas Trotignon, Phil Maron Director's filmography: Fly on the Window (2009) Contact: info@nikitadiakur.com
THE ARTIFICIAL HUMOURS OS HUMORES ARTIFICIAIS Portugal // 2016 // 29m An indigenous girl falls in love with a robot that is a rising stand up comedian in Brazil. Director: Gabriel Abrantes Director's filmography: (Selected) Tristes Monroes (2017), A Brief History of Princess X (2016), Freud and Friends (2015), Ennui Ennui (2013), Palaces of Pity (2011), Arabic Hare (2008), Anarchist King (2006) Contact: hermafilms@gmail.com Berlin International Film Festival nominee
Encounters Short Film and Animation Festival Bristol nominee
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VISIBLE CINEMA: DEAF SHORTS SHOWCASE
Sunday 18 March (13.00) CCA Cinema // 1h30m // N/C 15+
SWIMMING IN THE DESERT
HITCH
THE SONG FOR SINGLE
Australia // 2016 // 11m
China // 2016 // 5m
USA // 2017 // 17m
A young deaf boy wanders alone through a remote Australian landscape. A mysterious man pulls up in a ute to offer him a ride.
You are invited to experience this achingly familiar but perhaps buried part of our human longing for love through a unique story-telling technique, the passionate voice of sign.
Agua Dulce is stricken by a drought. A ten year old challenges her grandfather, a cranky retired firefighter, to follow a crazy plan to bring water back to the river. Director: Alvaro Ron Director's filmography: (Selected) The Red Thunder (2015), Scrapbook Memories (2014), To Kill or Not to Kill (2014), Linus & Cori [Ten Years Later] (2011), The Yawn Jar (2005) Contact for all films: info@encounters-festival.org.uk
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Director: Sophie Hexter, Poppy Walker Director's filmography: Land to Vale (2016), The Battle (2015)
Director: Zheng Xiaosan, Sam Zheng Director's filmography: First film
THE SILENT CHILD
4
SIGNS OF AN AFFAIR
UK // 2017 // 20m
UK // 2014 // 6m
UK // 2017 // 28m
Born into a middle class family, a profoundly deaf four year old girl named Libby lives in a world of silence until a caring social worker teaches her the gift of communication. Inspired by real life events.
A young Deaf man is challenged to a game of Connect 4, only to find that this is no ordinary game. Are the odds stacked against him?
Flora has been married to Fred for many years, when suddenly he doesn’t want sugar in his tea. Something’s not right. Flora is suspicious and determined to find out the truth, but ends up in some unexpected places.
Director: Chris Overton Director's filmography: First film
Director: Bim Ajadi Director's filmography: See Hear (2014), Champion of the World (2012), Deaf Sisterhood (2011), Dead Money (2009), Crew Battles (2007)
Director: Louis Neethling Director's filmography: (Selected) Tree Fairy (2013), Still Here (2012), Fairytale of London Town (2010), Coming Home (2009), Departure Lounge (2009), Horatio (2008), Coming Out (2006), Grandad (2003), Dis?ABLE (2001)
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FAMILY SHORTS AND SHORT STUFF
FAMILY SHORTS
Sunday 18 March (11.30) CCA Cinema // 1h15m // N/C Suitable for all
THE GOATS
THE POCKET MAN
KOZLY
LE PETIT BONHOMME DE POCHE
Russia // 2016 // 2m
France // 2016 // 7m
A group of travelling goats try to get a free snack.
A little man lives in an old suitcase. One day he finds a new friend – an old blind man. The little man jumps into the blind man's pocket.
Once again our ever-popular family programme brings you the most exciting new animation from around the world, up on the big screen. By turns daft, silly, sad, spooky and uplifting, this programme will showcase a wide range of stunning animation techniques and take you on journeys you never thought possible. After the screening you can make your own animation at a free drop-in workshop suitable for all ages, led by filmmaker Kate Burton between 13.00 and 15.00 in CCA Clubroom. And Short Stuff: Parent & Baby Screening returns for an hour and a bit of highlights from across the GSFF18 programme, specially chosen for short film lovers with babies. We guarantee entertaining and thought-provoking films and animations from around the world, but nothing too taxing for sleep-deprived parents. No extreme content or sudden loud noises, and the lights will remain on low to allow easy movement during the screening.
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Director: Yekaterina Filippova Animation: Yekaterina Filippova Director's filmography: The Foundling (2010), The Girl and the Snowball (2013), The Birdie (2015), Trunky (2017) Contact: gnidrac@yandex.ru
Director: Ana Chubinidze Producer: Corinne Destombes, Reginald de Guillebon Editing: Herve Guichard Music: Yan Volsy Director's filmography: First film Contact: mikhal.bak@gmail.com
PEARFALL Russia, Estonia // 2017 // 3m Beware of pearfall! It happens suddenly, so it's necessary to be prepared. Director: Leonid Shmelkov Director's filmography: Very Lonely Cock (2015), My Own Personal Moose (2013), Hop Frog (2012) Contact: hopfrogfilm@gmail.com
THE LITTLE BIRD AND THE CATERPILLAR
JUNK
Switzerland // 2017 // 5m
Uruguay // 2015 // 5m
A little bird enjoys peace and quiet high up in its tree, until an unexpected guest shows up.
Memories of life in an apocalyptic world.
Director: Lena von Döhren Director's filmography: The Little Bird and the Squirrel (2014), The Little Bird and the Leaf (2012) Contact: georg.gruber@magnetfilm.de
CHATARRA
Director: Walter Tournier Director's filmography: (Selected) Cease Game (2016), 7 Sea Pirates (2012), La Canilla Perfecta (2008), Caribbean Christmas (2001), Nuestro pequeño paraíso (1983) Contact: walter@tournieranimation.com
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FAMILY SHORTS (continued)
JAZZOO
SABAKU
THE FRUITS OF CLOUDS
Sweden // 2016 // 9m
The Netherlands // 2016 // 2m
PLODY MRAKU
Meet a koala who wants to be a kangaroo, an over-heated hippo and a caterpillar with a bad temper.
When Sabaku's best friend Buffalo passes away, he needs to find himself a new friend. He tries connecting with different species, but soon finds out that it isn't as easy as he thought.
Czech Republic // 2017 // 10m
Director: Adam Marko Nord Producer: Sara Waldestam Director's filmography: (Selected) Klonkadonka! (2001), The Girl and the Boatmotor (1996) Contact: jing.haase@filminstitutet.se
Director: Marlies van der Wel Producer: Roel Oude Nijhuis, Gijs Kerbosch, Gijs Determeijer Editing: Flip van der Kuil Music: Sjam Sjamsoedin Animation: Marlies van der Wel Director's filmography: (Selected) Jonas and the Sea (2015), Social control (2012), Protest Flatness (2011), BWAP (2006) Contact: ursula@klikamsterdam.nl
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Little Furry makes a great discovery by overcoming his fear of the unknown. Director: Kateřina Karhánková Producer: Tomáš Michálek Director's filmography: Hurrah for blueberries! (2017), Tanny and Mr. Illness (2015), New Species (2013), Keep Pace (2010), Hot Night (2010), Present (2009), Postal Study (2009) Contact: tomas@masterfilm.cz
SPIDER WEB OR THE GOSSAMER
LAND WITHOUT EVIL
MERLOT
TIERRA SIN MAL
Italy // 2016 // 6m
PAUTINKA
Hungary, Argentina // 2017 // 4m
Russia // 2016 // 4m
Throughout history, humanity has always looked for a perfect place. What if the real paradise was inside us, sustained in the harmony and unity of all that is alive?
In a blue fairy-tale forest, a grumpy granny loses a bottle of wine.
A mutual friendship is weaved when a small spider finds inspiration in a woman's knitting patterns. Director: Natalia Cherysheva Director's filmography: Two Friends (2014), Snowflake (2012) Contact: cher_nata@yahoo.com
Director: Giulia Martinelli, Marta Gennari Sound:Â Alessandro Nepote Animation: Giulia Martinelli, Marta Gennari
Director: Kati Egely Animation: Kati Egely
Director's filmography: First film
Director's filmography: (Selected) Me, You, Her (2012), Mrs. Goulash the Food Woman (2011), Pygmalion (2011)
Contact: verleih@shortfilm.com
Contact: egelykati@gmail.com
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FAMILY SHORTS (continued)
TALL TALES PART 3
THE HUNT
CROCODILE
UK // 2017 // 3m
LA CHASSE
Germany // 2015 // 4m
A young girl discovers why her father insists on smashing eggshells.
France // 2017 // 5m
The crocodile has everything it needs for a comfortable evening in front of the TV: cushions, a stool, pretzel sticks and a TV magazine. But then the pretzel sticks ruin all the fun.
Director: Jonathan Turner Director's filmography: Tall Tales Part 2 (2014), Tall Tales Part 1 (2012) Contact: jon.turner@kilogramme.co.uk
Can you possibly imagine the situations a shortsighted hunter might get himself into when he mistakes his dog for a rabbit? Director: Alexey Alekseev Producer: Yves Bouveret Animation: Alexey Alekseev Director's filmography: (Selected) Ant and Anteater (2014), Summer Song (2014), About Birds (2013), Bear & Bird (2007), HUHU – Pole Hole (2007), Mondokak (2006), About Raven (2004), Mr. Bean (2001–2003) Contact: mikhal.bak@gmail.com
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Director: Julia Ocker Director's filmography: Wolf (2016), Zebra (2013), Kellerkind (2012) Contact: studio@filmbilder.de
SHORT STUFF: PARENT AND BABY SCREENING
Thursday 15 March (11.45) CCA Theatre // 1h15m // N/C 12+
TONY AND THE BULL
STAY UPS
DO WE LEAVE THIS HERE
UK // 2017 // 16m // Page 23 WORLD PREMIERE
Sweden // 2017 // 12m // Page 35 SCOTTISH PREMIERE
Canada // 2017 // 16m // page 33 EUROPEAN PREMIERE
A small window into the private life of Tony and his companion/ pet Scrunch, a fully-grown Highland bull.
A woman in her forties prepares for a date, while telling her child to keep out of the way.
A journalist headed north to report on a controversial dam gets more than he bargained for when a series of mishaps finds him caught between a Christmas tree and unraveling local drama.
Director: Joanna Rytel
Director: John McFarlane
Director: Julia Hutchings
THE BURDEN
TAKING STOCK
MIN BÖRDA
UK // 2017 // 4m // Page 24 SCOTTISH PREMIERE
Sweden // 2017 // 14m // Page 29 SCOTTISH PREMIERE A dark musical is enacted in a modern market place, situated next to a large freeway. The employees of various commercial venues deal with boredom and existential anxiety by performing cheerful musical turns. The apocalypse is a tempting liberator.
Using his failed attempts at creating profitable stock footage, a filmmaker reflects on the absurd, mundane and funny side of being trapped inside your own head as an out of work, self-employed freelancer. Director: Duncan Cowles
Director: Niki Lindroth von Bahr
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Industry Events
SYMPOSIUM: ARCHIVES, ACTIVISM, AESTHETICS Friday 16 March (09.30) CCA Theatre // 8h Saturday 17 March (09.30) Kelvin Hall // 7h30m Glasgow Short Film Festival and Southeast Asian Cinemas Research Network present two days of screenings and discussions open to anyone with an interest in filmmaking, political activism or Southeast Asia. Southeast Asian filmmakers have increasingly turned to archive footage in order to explore the relationship between the colonial and Cold War past and the politics of the present day. With participation from members of grassroots filmmaking collectives and organisations in Southeast Asia including Hanoi DocLab, Vietnam; Forum Lenteng, Indonesia; Anti-Archive, Cambodia; Save Myanmar Cinema and the Thai Film Archive, this symposium will explore the links between archives, activism and aesthetics. Free entry. Register for a place at www.glasgowfilm.org/gsff
DAY 1: ARCHIVAL PRACTICES AND FOUND FOOTAGE IN ARTISTS’ FILM 09.30 — 09.45 Registration 09.45 — 09.50 Welcome Philippa Lovatt (University of St Andrews) 09.50 — 11.00 16mm Film Screening and Curator's Talk Merv Espina (Green Papaya Arts Projects, Quezon City) and Uwe Schmelter (Goethe-Institut), ‘What if you are color-blind? Goethe-Institut and the Mowelfund film workshops in Manila, 1980s–1990s’ 11.10 — 12.40 Panel: Archival Practices, Histories and Politics This panel will discuss the politics of archival practices, both in terms of the urgent need to salvage cinematic histories of Southeast Asia and with regards to the archive’s relationship to the state and to colonial and Cold War histories.
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Okkar Muang (Save Myanmar Cinema) ‘Long Neglected Stories: the Save Myanmar Cinema Project’ Chalida Uabumrungjit (Thai Film Archive) ‘Swimming with Sharks: Thai Film Archive in the Digital Age’ Fang-Tze Hsu (University of Singapore) ’When Dead Labor Speaks with a Gendered Accent: Nguyễn Trinh Thi, John Torres, and Their Found Footage’ 12.40 — 13.30 Lunch break 13.30 — 14.30 Keynote Bliss Cua Lim (University of California, Irvine) ‘Silence, Power, and Making-Do: Philippine Cinema’s Fragile Archive’ 14.45 — 15.30 Artist's Talk Screening of Landscape series no. 1 (Nguyễn Trinh Thi, 5m, 2013), followed by Nguyễn Trinh Thi and Philippa Lovatt in conversation on found footage film 15.45 — 17.00 PhD/Early Career Workshop: Space and Temporalities in Southeast Asian Cinemas This workshop will explore questions of spatiality and temporality in Southeast Asian cinemas, focusing on research methods. In addition to archival research, how can other interdisciplinary approaches such as from the fields of human geography and health inform our readings of Southeast Asian film? Ekky Imanjaya (University of East Anglia), 'Archive-led Research, New Film History, and Classic Indonesian Exploitation Cinema' Katrina Macapagal (Queen Margaret University), ‘The Chronotope of the City in Philippine Urban Cinema’ Maohui Deng (University of Manchester) ‘Wandering Across Time: Pasts and the Present in Singapore Cinema’ 17.00 — 17.30 Short Film Screening Three Wheels, Kavich Neang, Cambodia, 2015, 20m with introduction by director Kavich Neang
DAY 2: NEW DIRECTIONS – GRASSROOTS FILM COMMUNITIES AND ACTIVISM
Jasmine Trice (University of California, Los Angeles), ‘Art House Screening Spaces in Manila, Philippines, 2006–2011’
09.30 — 09.45 Registration
Mariam Lam (University of California, Riverside), ‘Found Footage: Ecological (Re)Invention in Experimental Documentary Film’
09.45 — 10.45 Keynote May Adadol Ingawanij (University of Westminster), ‘Aesthetics of Uncertainty: History and Artists’ Moving Image in Southeast Asia’ 10.50 — 12.10 Panel 1: Grassroots Film Communities and New Directions This panel will discuss the experiences and challenges of setting up and maintaining independent film culture in Southeast Asia in the context of wider economic, industrial and political pressures. Hafiz Rancajale (Forum Lenteng, Indonesia) Nguyễn Trinh Thi (Hanoi DocLab) Kavich Neang (Anti-Archive, Cambodia) 12.20 — 13.00 Short Film Screenings A Million Threads, Thu Thu Shein, Myanmar, 2006, 16m The Lacuna, Nguyễn Thị Huệ, Vietnam, 2017, 10m
15.30 — 16.45 PhD/Early Career Workshop 2: Film Communities, Activism and the State This workshop will explore connections between filmmaking, public culture, social movements and the State in Southeast Asia. Tito Imanda (Goldsmiths, University of London), ‘Building Grassroots Film Community with a Traditional Performance Art Group in Highland Java’ Eric Sasono (King’s College London), ‘Watchdoc: Documentary film and public culture/ politics in Indonesia’ Khong Kok Wai (University of Westminster), ‘Film Censorship in Malaysia: the Apparatus’ This event is funded by the Arts and Humanities Research Council and the University of St Andrews and has been organised in collaboration with the Association of Southeast Asian Cinemas Conference (ASEACC), with additional support from the Goethe Institut Glasgow.
Neighbour/Tetangga, Tito Imanda, Indonesia, 2017, 11m 13.00 — 13.50 Lunch break 13.50 — 15.20 Panel 2: Spaces and Temporalities of Independent and Experimental Southeast Asian Film This panel will provide an historical overview of the development of independent film practices and networks across the region over the last 15 years, drawing together the relationships between experimental and independent film practice, activism and its relationship to the archive. Gaik Cheng Khoo (University of Nottingham, Malaysia Campus), ‘Film Activism in Southeast Asia: Regional Networking and Knowledge Exchange’
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GSFF FILM SCHOOLS DAY Thursday 15 March (10.30) Civic House // 6h30m We are proud to present the inaugural Film Schools Day, in partnership with the Scottish Creative Media Network. Students of five Scottish institutions will present their work to an international industry panel, who will offer immediate feedback and present a handful of awards at the end of the day. With a networking lunch, this will be a unique opportunity for Scottish film students to meet their peers and learn from one another’s work. PANELISTS INCLUDE: Jing Haase (Festival Manager for shorts and docs, Swedish Film Institute) Émilie Poirier (short film programmer and coordinator, Festival du nouveau cinéma, Montreal) Carolynne Sinclair Kidd (producer, Hopscotch Films and Scottish Film Talent Network) The Scottish Creative Media Network is a new collaboration between Scotland’s Universities and Colleges that deliver courses and degree qualifications in film, broadcast and digital media. The network offers a learning and skills infrastructure that aims to ensure there is a continuing talent pipeline into Scotland’s screen, broadcast and digital industry. Working closely with the new Screen Unit and supported by the Scottish Funding Council the network includes: Edinburgh Napier University, University of the West of Scotland, University of Stirling, Glasgow Caledonian University, University of Edinburgh, the Royal Conservatoire of Scotland, Fife College, Glasgow Clyde College, Perth College UHI, West College and City of Glasgow College. Free but limited entry to all pass holders.
SUPERLUX: PRESENTING FOR SUCCESS! PITCHING SKILLS FOR ARTIST FILMMAKERS Thursday 15 March (14.00) CCA Clubroom // 3h Friday 16 March (10.00) Tramway // 7h Benjamin Cook, Director of LUX, leads this two-day workshop for artists to develop and refine strategies for presenting or pitching projects. The workshop will focus on both written and verbal presentation skills and how these can most effectively be put to use in getting new work developed, produced or commissioned. The emphasis will be on skills that can be applied within both art and film contexts, including preparing funding, residency and production award applications as well as pitching at development markets, film festivals and other competitive contexts. We will also consider how artists can use tools such as pitching productively and how to approach writing and using visual material in presentations about your work. Working within an informal and mutually supportive small group environment, participants will bring a short written project proposal to be workshopped over the two days. Participants will gain further insights into the variety of contexts in which projects can be pitched; the information that funders, commissioners and producers are looking for; best strategies for writing a succinct and compelling proposal, and what a successful presentation might look like. Following lunch on the Friday these skills will be put into practice. Each participant will present their project to industry professionals Tess Renaudo (l’Alternativa festival, Barcelona) and Peter Taylor (Berwick Film & Media Arts Festival) for constructive feedback and advice. Registration for this event is now closed.
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PRODUCTION ATTIC SHORT FILM PITCH
MEET THE SOCIAL
Friday 16 March (11.00) Civic House // 2h
Friday 16 March (11.15) CCA Clubroom // 1h30m
Glasgow Short Film Festival promotes short film that is fresh, original and sincere in its vision. We believe short film is an opportunity to experiment with form and narrative, unfettered by commercial constraints. We celebrate heroic failures – those films with creative ambitions that sometimes outrun their technical abilities.
BBC The Social is a digital content stream featuring content for and created by young people in Scotland. We work with new talent to develop their skills and publish their content to our social media channels covering a wide variety of genres including comedy, music, gaming, life, issues and more. Meet the team and find out how to get involved and what the future holds for short digital content at BBC Scotland.
To this end, last year we launched the first GSFF Short Film Pitch, in partnership with Production Attic, a creative video production company based in Glasgow with clients across the UK. We are offering emerging filmmakers the opportunity to pitch for in kind equipment hire and a small cash bursary to realise their ideas. Last year's winning project, John McFarlane's Tony and the Bull, premieres this year in Scottish Competition 3: Foreign to the World.
PANELISTS INCLUDE: Louise Thornton (Commissioning Executive, Youth, Digital & Social Media) Ryan Pasi (Content Producer) Sean McInally (Contributor and Researcher) Free entry to all passholders.
From application, GSFF and Production Attic have invited the filmmakers behind the most exciting five treatments received to pitch their projects in an open session, to a panel of filmmakers and industry experts. The panel will offer full and frank feedback. They will select one project to receive seven consecutive days’ free hire of equipment courtesy of Production Attic, plus £400 in cash courtesy of Glasgow Short Film Festival. PANELISTS INCLUDE: Matthew Cowan (Creative Director, Production Attic) Zam Salim (filmmaker) Session chaired by Ben Taylor (Creative Europe). Free entry to all passholders.
Production Attic
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BLAZING GRIFFIN SESSIONS
NFTS SCOTLAND: EVA RILEY MASTERCLASS
Friday 16 March (14.00) Civic House // 3h30m
Friday 16 March (14.15) CCA Clubroom // 1h30m
Sponsor of the Scottish Short Film Award at GSFF, independent production company Blazing Griffin presents three interconnected sessions for short filmmakers looking to make the next steps in their career.
Eva Riley is a Scottish director and screenwriter from Edinburgh. She studied at the National Film and Television School, with her graduation film Patriot premiering in the short film competition in Cannes. She joins us to discuss her career to date, including her experience of studying at NFTS. In conversation with fellow NFTS graduate Ewan Stewart, she will explore her processes and the inspiration behind the diverse themes in her short films, and talk about how she is tackling the transition to longer form narratives as she embarks on her first feature film production.
SESSION 1: SHORT TO FEATURE, A PRODUCER CASE STUDY – ANNA AND THE APOCALYPSE 14.00 — 15.00 Every film has a different path to production. During this session, Blazing Griffin producers will take you through their journey from their Zombie Musical short to Anna and the Apocalypse, the all singing, all dancing feature film!
SESSION 2: CALLING CARD, HOW TO USE YOUR SHORT FILM STRATEGICALLY 15.15 — 16.15 Why do we make shorts? One common reason is to have a calling card to enable us to make the next one, or a first feature. In this session, we will case study Scottish director John McPhail and how building a focused short film and micro-budget feature strategy helped him make the leap to directing debut feature film Anna and the Apocalypse.
SESSION 3: A CONVERSATION WITH BLAZING GRIFFIN 16.30 — 17.30 This session invites you to join a conversation with some of the key talent working within Blazing Griffin across Film, Post Production, Marketing and Games. The team have worked on some of the biggest (and smallest) productions in Scotland. We want to hear about your filmmaking experience and trade top tips. Free entry to all passholders.
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Free entry to all passholders.
SCALARAMA: HOW TO RUN A FILM FESTIVAL Sunday 18 March (16.00) CCA Clubroom // 2h Scalarama is a DIY celebration of cinema that takes place every September while championing alternative film culture all year round. Inspired by the eclectic programming of the legendary Scala Cinema, since 2011, groups and individuals who have a passion for movies have united to celebrate and encourage watching films together. Join a mix of local exhibitors, festival producers, Scalarama coordinators from across the UK and fellow newbies to discuss 2018 plans and how to get involved. Free entry.
SUPERLUX MASTERCLASS WITH KEVIN JEROME EVERSON Saturday 17 March (15.15) CCA Creative Lab // 2h Join artist and filmmaker Kevin Jerome Everson for a SUPERLUX Masterclass focusing on his creative process and working methodology. Kevin Jerome Everson (b.1965, United States) is one of the most prolific filmmakers currently working in America. In his highly prolific career, Everson has made nine feature films and over 130 short films, which have been exhibited internationally at film festivals including Sundance, Toronto, Venice, Rotterdam, Berlin, London, Ann Arbor and Oberhausen.
Everson has been the subject of mid-career retrospectives at Modern and Contemporary Art Museum, Seoul, 2017; Viennale, 2014; Visions du Reel, Nyon, 2012; The Whitney Museum of American Art, New York, 2011; and Centre Pompidou, Paris, 2009. His work has been featured at the 2008, 2012 and 2017 Whitney Biennials and the 2013 Sharjah Biennial. Everson is currently Professor of Art at the University of Virginia, Charlottesville. Presented by LUX Scotland as part of the programme for SUPERLUX, LUX Scotland’s membership scheme. membership.luxscotland.org.uk Free for SUPERLUX members, booking via LUX Scotland website.
GLASGOW FILM CREW SESSIONS SCREENWRITING: A FILM LAB WITH ANDREW GUNN Saturday 17 March (13.00) Civic House // 2h This pacey, interactive workshop is designed to help writers master the essential tools of the trade: developing an idea, structuring a compelling story and presenting it as a script – all to a professional standard. It’s perfect for writers at the beginning of their career, or as a refresher for seasoned veterans, and the tools can be applied to short and featurelength films. The lab is led by screenwriter, script consultant and playwright Andrew Gunn. Free entry to all passholders.
300 REJECTIONS: A SHORT FILM FESTIVAL SURVIVAL GUIDE FOR LOW-BUDGET FILMMAKERS Saturday 17 March (15.30) Civic House // 2h Short film Cosmico was rejected by 300 festivals. It was also screened in eight countries, won four awards and was licensed by Channel 4's Random Acts. Director C.J. Lazaretti faced many doubts that puzzle filmmakers on their first festival submissions: What deliverables do I need? How much should I spend? How do I increase my chances of getting selected? This workshop will teach you the easy way everything that C.J. learned the hard way. Free entry to all passholders.
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Index
INDEX BY TITLE 4 115 1745 20
Dead Connection (The Pictish Trail)
Hairat 37
#Bars4Justice 78
Death of the Soundman
10 Little Men (Top Floor Taivers) 76
Dérive, The
ABCD 52
Destiny 102
Homage to Kobane
21
Ablaze 60
Diagnosis 73
Home Again (Exit-Omni)
76
According To
43
Diliman 36
Homeland 94 Hot Winter: A Film by Dick Pierre
76 56, 67 29
Harbour 31 Haunted Houses
60
Hitch 114
Agreement, The
72
Discover 103
All Over the Place
35
Disinherited, The
All Small Bodies
81
Ditch 97
How Can I Ever Be Late
47
Along the One Way
56
Do We Leave This Here
How long, not long
95
109 33, 121
Angela 31
Do You Understand Me?
Anito 53
Drafts 95
Hunt, The
Anthem, The
60
Droga! 51
I Am Not
19
Ardentinny Outdoor Centre
75
Drowning Man, A
30
I Died for Beauty
55
Ars Colonia
53
Ears, Nose and Throat
43
IFO 42
Artificial Humours, The Atomic Soldiers, The Auction Day
106
69, 83
Howls 23 120
113
Eason 46
In Manila
33
Eden 28
In the Mouth
110
Electric Faces
Information Skies
110
106
103
53
Austria! 93
Eleven Men
55
Invasion 104
Big Fun in the Big Town
79
Emerald 59
Islands 85
Black America Again
78
Emergency Needs
It’s Easier to Raise Cattle
42
57, 81
Blindsided 19
Empire 61
Jazzoo 118
Blockhead 88
Eudaimonia 21
Blood, The (Kathryn Joseph)
76
Everyday (Sacred Paws)
76
Jodilerks DeLa Cruz, Employee of the Month
Body (Bossy Love)
76
Everyday's the Seventies
50
Joey 82
Body (The Spook School)
76
Everything 37
Johnny Crawl
Farfisa Song (Looper)
Joyride 71
76
Burden, The
29, 68, 121
Bute Potter
75
Fate 106
Cactus River
59
Fay Presto: Queen of Close-up
Call of Cuteness
82
85
Fe26 45
Centaur 27
Fifeville 45
Chibbed 21
Fight on a Swedish Beach
Chop-Chopped First Lady + Chop-Chopped First Daughter 52
FINAL STAGE [The Time For All But Sunset - BGYOR]
Circle, The
110
First and Foremost
Civil Rites
92
Class Picture Coming Out
112
Juneteenth, Columbus Mississippi
57 52
45
Junk 117 Jus Soli King and I, The
91 24
Kobold’s Gesänge
100
28
Lacuna, The
125
94
Land without Evil
119
Flores 26
Landscape series no. 1
124
53
Footprints 63
Language Barrier, The
105
97
Fruits of Clouds, The
Last Little School, The
107
44
Gatekeeper 79
Letter to Uncle Boonmee, A
62
Copa-Loca 109
Gaze
Letters from Panduranga
55
Corpse of Time, The
Ghost of Asia
61
Crocodile 120
Give Me The Light (Snavs)
76
Life and Freaky Times of Uncle Luke
79
Cry of the Peewee
75
Goats, The
Damned Dolls
19
Great Choice!
86
Greetings From Aleppo
32
Company Line
132
97
GLASGOW SHORT FILM FESTIVAL 2018
118 34, 67
116
Little Bird and the Caterpillar, The
117
Little Sons
57
Lost Maps (Marnie)
76
LOVE 109
Punta, La
Love Drive Through (Law)
76
Quiet, The
Luminous People
62
Rabbit Hunt, The
M Hotel
59
Random White Dudes
Malee and the Boy
63
Refuge 22
Three Wheels
Release, The
Tiger of 142B, The
Man Who Stopped Going to Church, The
18, 106
59 104 28 20, 91 46
Ten Five in the Grass
46
Thirdworld 61 This and a Million More Lights This My Favorite Mural
63 29 124 56
Manual 100
Retrochronological Transfer of Information, The
Timecode 111
Martin Cries
87
Revue 37
Tower XYZ
92
Mekong Hotel
63
Riddle: Shout of Man
Trailer for CinDi
60
Memory of the Land
33
Risky Chris
52 52 107
Tony and the Bull
23, 121
Train, The Forest, The
31
Merlot 119
Rita Larson's Boy
47
Traveller, The
Mia: A Rapture 2.0 Production
103
Roadless (Frightened Rabbit)
76
Tricks 81
Million Threads, A
125
Roots 96
Ugly
Mirage My Bros
36
Rough 84
Umbilical Glue
Mobile Men
61
Round Seven
42
V 80
Monsoon 61
Rubber Coated Steel
30
Vampire 60
moon is not ours, the
53
Runner 104
Vapour 59
Morag and the Kelpie
107
Rust 53
Very Specific Things at Night
Mouse 87
Sabaku 118
Video 72
My Friend, My Hero
Salt & Sauce
Wannabe 108
My Mother’s Garden
107 61
22
107 36, 113 83
52
Sanctuary 75
Watchmen, The
100
Nimit 62
Scales in the Spectrum of Space
Wave Machine and the Flâneuse, The
101
Nokia Short
63
Shadow Animals
84
Normality 5 & 6
93
Signs of an Affair
115
Neighbour 125
101
Weekday (Hanoi)
50
Welfare of Tomás Ó Hallissy, The 18
Not Required Back
18, 67
Silent Child, The
115
White Horses
Nothing To Declare
87
Silent Night
105
Who Are We?
90
Once Upon a Time
51
Six God Alphabet Peter
Wild Horses
35
Organising the Impossible
98
Sleepers, The
84 101
Workers Leaving the Job Site
44
Orogenesis 94
Small Universal Song, A
Our Old Man (and the Sea)
88
SOG 32
World of Tomorrow
Park Lanes
41
Solar Walk
76
Song for Single, The
World of Tomorrow Episode Two: The Burden of Other People's Thoughts 70
Party in the Dark (Mogwai) Party, The
112
98
106
27 114
Sound That
44
68, 107
Worldly Desires
70
59
Patriot 72
Spider Web or The Gossamer
Peacock 106
Stay Ups
Pearfall 117
Stone
You Will Be Fine
111
Pedro M
Strange Says the Angel
34
Young Men at their Window
108
Phantom Billions (Adam Stafford) 76
Street 66
91
Pigeon Man
86
Sugarcoated Arsenic
43
Plastic Man
23
Swamp 27
Your father was born a 100 years old and so was the Nakba
Pocket Man, The
96
116
Swimming in the Desert
Polonaise 95
Take it to the Top (Bdy_prts)
Poor Boy (Belle & Sebastian)
76
Taking Stock
Prima Donna
78
Tall Tales Part 3
119
Working Day, A
35, 121 47, 68
Written/Unwritten 112
30
114 76 24, 121 120
GLASGOW SHORT FILM FESTIVAL 2018
133
INDEX BY DIRECTOR Gabriel Abrantes
26
30
DocLab Reality-Based Audio Workshop 50
Jorge Jácome
Lawrence Abu Hamdan
John + Amandah
76
Will Adams
87
Lena von Döhren
117
Lucas Chih-Peng Kao
76
36, 113
Kateřina Karhánková
118
Bim Ajadi Ayo Akingbade Jimbo Albano Mike Alcazaren Alexey Alekseev
113
115 91, 92
Redbear Easterman Kati Egely
119
Hakeem Khaaliq
78
Sara Jane Kirkwood
19
78
Morgan Knibbe
33
52
Stefanie Kolk
31
57, 81
Yulia Kovanova
23
41-47, 68
Michelle Kranot
95
53
Agnieszka Elbanowska
95
53
Nabil Elderkin
120
Tad Ermitaño
Urte Alfs
37
Amanda Nell Eu
Florencia Aliberti
97
Kevin Jerome Everson
Razan AlSalah
30
Bryan M. Ferguson
Will Anderson
76
Laura Ferres
109
Vinca Kruk
Hanna Aqvilin
82
Yekaterina Filippova
116
Juri Krutii
Michael Arcos
29
Mahdi Fleifel
Martha Atienza
53
Andreas Fontana
Jo Atienza
53
Jenny Forbes
Atxur Animazio Taldea
97
Iain Gardner
Vic Bacani
53
Matteo Gariglio
110
Callum Leemkuil-Schuerman
Melchor Bacani III
51
Marta Gennari
119
Jannis Lenz
33
Tom Gentle
19
R J Leyran
52
Logan George
87
Lucas Leyva
79
Samira Badran Niki Lindroth von Bahr
29, 68, 121
83, 88
Uri Kranot
95 110 21
30
Anna Krzeszewska
96
Boris Labbé
94
Jon Lazam
53
68, 107 76
107
Suzy Lee
106 86 108
Diogo Baldaia
36
Alia Ghafar
22
Christelle Lheureux
61
Yason Banal
52
Izzy Gibbs
76
Brenda Lien
85
Jessica Beshir
37
Juanjo Gimenez
111
Tessa Lynch
101
Simon Bishopp
22
Cristoph Girardet
100
Ciaran Lyons
Patrick Bresnan
28
Carme Gomila
76
Yann Gonzalez
Tim Brinkhurst Klaus vom Bruch Réka Bucsi
100 27, 109
Karen Grant Eli Guieb III
98
John Murdo MacAulay
85 106
Dòmhnall Eòghainn MacFhionghain
53
Catriona MacInnes
Patrick Buhr
31
Andrea Harkin
112
Lander Camarero
88
Claudrena Harold
Duncan Campbell
18
Celine Held
87
Jerry Carlsson
84
Ian Hendry
Julie Caty
28
Natalia Cherysheva Ana Chubinidze
43, 47
76 18, 106 106, 107 23
Rachel MacLaren
107
Alison MacPherson
106
Carlo Francisco Manatad
57
104
Melina Maraki
81
Rachel Hendry
107
Peter Marsden
119
Johnny Herbin
103
Raya Martin
116
Cesar Hernando
18, 67 53
53
Giulia Martinelli
119
Roxanne Cifford
76
Don Hertzfeldt
70
Christos Massalas
109
T J Collanto
36
Gary J Hewitt
103
Tonina Matamalas
98
Robin Comisar
86
Sophie Hexter
114
Jillian Mayer
24
Allan Hilario
76
Daniel Cook Tim Courtney
David McCann
Ross Hogg
76
John McFarlane
23, 121
Falconer Houston
75
Paul McGinness
84
Peter Huang
79
Juan Sebastián Mesa
27
80
Graham Hughes
76
Floor Van Der Meulen
32
111
Julia Hutchings
33, 121
Vito Milazzo
104
125
Peter Millard
84
Duncan Cowles
24, 121
Daniel Cuberta
96, 98
Jimmy Dean Céline Devaux Nikita Diakur
134
79
53
36, 113
GLASGOW SHORT FILM FESTIVAL 2018
Tito Imanda
103
Uillleam Moireach
106
Juan Pablo Daranas Molina
31
Adrian Silisteanu Fern Silva
112 100, 101
Loukianos Moshonas
108
John Smith
90
Queen Muhammad Ali
78
Ewan Smith
105
Matthias Müller
100
Somebody Nobody
Uisdean Murray
107
Bram van Splunteren
79
76
Rory Alexander Stewart
35
Gordon Napier
20
Hito Steyerl
93
Bani Nasution
56
Nicolás Suárez
Nay Chi Myat Noe Wint
57
Ruken Tekes
110
Kavich Neang
124
Thu Thu Shein
125
Louis Neethling
115
Tito & Tita
Craig Murray
91
27
53
Nguyễn Thị Huệ 125
Rosie Toner
19
Nguyễn Trinh Thi
50, 55, 124
Tanin Torabi
29
Adam Marko Nord
118
John Torres
52
Julia Ocker
120
Issa Touma
32
Justice John (Justice Onojaefe) 102
Walter Tournier
117
David OReilly
37
Jonathan Turner
120
Ricky Orellana
53
Simon Vahlne
112
Chris Overton
115
Daniël van der Velden
110
Luis E. Parés
97
Jonathan Vinel
87
Sam Peeters
94
Thomas Vroege
32
86
Corey DB Walker
Jessie Ponder Sorayos Prapapan
45
56, 67
Poppy Walker
114
Shalimar Preuss
34
Graeme Watt
104
James Price
21
Apichatpong Weerasethakul 59-63
Soran Qurbani
21
Marlies van der Wel
118
Casey Raymond
76
Elly Welch
105
Jennifer Reeder
81
Ross Woodhead
76
Miko Revereza
51
Helen Wright
82
Eva Riley Jack Henry Robbins Alvaro Ron Roxlee Joanna Rytel Sai Whira Linn Khant Farnoosh Samadi
71-73, 128
Zheng Xiaosan
69, 83
Bradford Young
114 52 35, 121
Yu Par Mo Mo Sam Zheng
78 20, 91 57 114
57
Henry Zhuang
56
34, 67
Harry Zhuang
56
Andrea Luka Zimmerman
92
Mariana Sanguinetti
35
Oscar Sansom
76
Juri Schaden
95
Nicolaas Schmidt
28
Veronika Schubert
94
Jonatan Schwenk
32
Leonid Shmelkov
117
Amie Siegel
101
Hubert Sielecki
Young Fathers
114
93
GLASGOW SHORT FILM FESTIVAL 2018
135
anuncio 105x148cm:Maquetación 1 08/02/18 18:52 Página 3
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June 5 – 11 2018
15th International Festival for Short Film, Animation and Music Video
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33rd BREST EUROPEAN SHORT FILM FESTIVAL
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