Using found footage from commercials showing mainly women’s legs and cars, a tangled network of movements is woven, broken out of the found footage, and compiled anew. Discharged from all its semantic burden, what remains is a self-sufficient swarm of splinters, fleeting vectors of lost direction.
A playful interrogation of the materiality of celluloid, Peter Tscherkassky’s Manufraktur explores the tension between an image and the film on which it is captured. The avant-garde filmmaker’s architectural fascination stands out from the film’s temporal, sonic, and material manipulations.
France
New Zealand
Australia
United Kingdom
Canada
United States
Latvia
Azerbaijan
United Arab Emirates
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Argentina
Nigeria
Bangladesh
Vietnam
Egypt
Saudi Arabia
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Iran
Jordan
Hong Kong SAR China
Israel
Portugal
Germany
Mexico
Japan
Russia
Brazil
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Indonesia
Poland
Ireland
Singapore
Finland
Norway
Denmark
Sweden
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Spain
India
South Korea
Turkey
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Togo
Trinidad & Tobago
Libya
Jamaica
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Slovenia
Niger
Kyrgyzstan
Mali
Uruguay
Georgia
Panama
Madagascar
Qatar
Malawi
Rwanda
Puerto Rico
Croatia
Honduras
Burkina Faso
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Bosnia & Herzegovina
Paraguay
Zimbabwe
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Senegal
Lebanon
Zambia
Bolivia
Cambodia
Cameroon
Cuba
Mozambique
Serbia
Syria
Nepal
Guatemala
Dominican Republic
Congo - Kinshasa
Belarus
Sri Lanka
Hungary
Yemen
Greece
Switzerland
Czechia
Kenya
Tanzania
Ecuador
Uganda
Côte d’Ivoire
Sudan
Romania
Kazakhstan
Chile
Peru
Netherlands
Myanmar (Burma)
Uzbekistan
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Venezuela
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Colombia
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Liechtenstein
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Lithuania
Armenia
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Iceland
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Afghanistan
Tunisia
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Geneviève Hamon,Jean Painlevé, 1965, France
Suzan Pitt, 1979, United States
Hans Richter, 1926, Germany
Christoph Schlingensief, 1968, West Germany
Frieder Schlaich, 2014, Germany
Niles Atallah, 2017, Chile
Joel Wanek, 2013, United States
Jaromil Jireš, 1970, Czechoslovakia
Pierre Mazingarbe, 2012, France
Raúl Ruiz, 2011, France
