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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Bangladesh
Vietnam
Egypt
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Ireland
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Norway
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Togo
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Niger
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Bolivia
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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
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Netherlands
Myanmar (Burma)
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Liechtenstein
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Tunisia
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Peter Greenaway, 1988, United Kingdom
Michael Almereyda, 2012, United States
Tatiana Fuentes Sadowski, 2012, France
Maya Deren,Alexander Hammid, 1943, United States
Andrej Gontcharov, 2014, Germany
Jean-Jacques Lebel, 2007, France
Vilgot Sjöman, 1968, Sweden
Anne-Laure Daffis,Léo Marchand, 2012, France
Sergei Parajanov, 1965, Soviet Union
Walerian Borowczyk, 1978, France
