New collaboration for Occulto! Join us for a night of films and live music introducing FRACTO, the new format for experimental film screenings at ACUD, whose first edition will take place on May 20th/21st. Musical highlights: Everest Magma back in town – N.B.: he published another album on Boring Machines in the meanwhile, Gnosis – and first Berlin performance of Valerio Cosi.
Everest Magma – Live music performance
+ special screening t.b.a.
“N I H I L , or All the Time in the World”
a film by Uli M. Schueppel
16mm; 54min; b/w; West-Berlin 1988
Starring: Olivier Picot, Kai F, Friedrich Wall, Gesine Böhle and Blixa Bargeld
Music: Alexander Hacke
“… Almost nothing is explicit, everything is a determination of the atmosphere, dark, morbid, mysterious, religious, mystic, poetic. NIHIL from a film school student… Its a type of underground Tarkowskij, without imitating the already known, or even quoting it.” Der Tagesspiegel (9.2.88)
„Summer 86 the ideas for the script were created in a couple of nights. Usually, I sat in the same corner at „Hansa-Studio“-WestBerlin. Bands like „Einstuerzende Neubauten“, „Nick Cave & The Bad Seeds“ and „Crime and the City Solution“ were recording their albums after another. I only had to close my eyes and the projector was running, like weeds images grew emberantly to the background of the new sounds. I felt the mood, the quiet-intensive atmosphere that the film was to carry with it. The parabel and the baladesque was created. The expressive strength and poetry of the picture was to be more important than the story and action.
No reality, no contemporary was to be shown directly, but only to be seen in the presence of the actors faces. No cars, no people, no Berlin!
Still, WestBerlin was to be present throughout the film, and no other city. The feeling and the conception of the world shown could have only been created here, at the end of the 80s. Small groups develop everywhere, energies which move forward desperately. Anywhere. An illusion of losers who become heroes. No aim (which?) is relevant anymore. Only the movement…“
(Uli M Schueppel, Excerpts from „Chronicle of an unexplored film“, 1987)
ULI M. SCHUEPPEL
Along with a number of short films, numerous music videos, and animations, he is the author, director, producer, and cameraman of 14 full-length films ranging from feature films, essay films, and music films to documentaries. He is also teaching direction and documentary film at the Deutsche Film- und Fernsehakademie (DFFB) and the Nederlandse-Filmacademie, Amsterdam. He has given numerous master class workshops on the topics of “music documentary”, “independent filmmaking”, and “digital storytelling“.
Giuseppe Boccassini & Valerio Cosi
Special Screening of “Lezuo” and “The Tin Hat” (Boccassini) accompanied by Valerio Cosi.
For this special ciné-concert Boccassini and Cosi will weave together the two films in a passage through time and space which will take you from a pre-cinematic voyage by sea to the mechanized imagery of the battlegrounds of the First World War.
Lezuo, MiniDv, 17 min, Italy, Germany, 2013
In 1843 Andrea Lezuo, a carver born in Arabba, Northern Italy, sets sail towards “La Merica” on board the Ehon Ship. Through an anthological collage of heterogeneous audiovisual material, the film portrays the physicality of the voyage, as it traces an experience that is a sort of initiation.
“Compared to the contemporary world, the imagination of that era was less bound by the power of mechanical imitation of man: movement. It would soon do so. In a certain sense, the film tries to relocate that visual dimension which is uncertain, shaky, and at the same time occult, mysterious, alive, and now lost, through a proposed aesthetic that comes about through the mixture of form and non-form, of the knowable and the unrecognizable, of reality and the imagination.”
The Tin Hat, MiniDv, 15 min, Italy, Germany, 2014.
In every battle it is the eyes that are the first to be subjugated (Tacitus , Germania) “To prove Tacitus’ point, Boccassini uses a plethora of distorting filters, lens, and irises to distance this footage even further from reality, though the amateur and newsreel cinematography, already crackling with grain and faded in spots, already resembles no discernible reality we know.” (Matthew Levine)
… is an Italian, Berlin-based film director. He has a degree in film theory from the University of Bologna, Italy. He also has a degree in movie direction from The New University of Cinema and Television located in Cinecittà, Rome, Italy. He works as film editor and dp. He has participated in several international film festivals and exhibitions with his own experimental films.
VALERIO COSI [IT / DE – Berlin]
Italian-born and Berlin-based performer Valerio Cosi is a saxophonist and multinstrumentalist known for tirelessly investigating the widest possibilities of electronic music mixed with psychedelia, free-form jazz and rhythms borrowed from African, experimental techno and Krautrock music since more than 10 years. Starting as a saxophonist and then incorporating his multi-instrumentalist skills into his electronic recordings, Cosi released a long series of solo records and collaborations starting from 2006 until today (Digitalis Industries, Porter Records, Last Visible Dog, Type, Preservation, Small Voices/A Silent Place and his own Dreamsheep etc.).
… is the latest incarnation of the prolific musician and songwriter already known as Rella the Woodcutter and as member of Eternal Zio – both projects have had releases on Boring Machines, the same label that published Everest Magma’s two albums. As Everest Magma, he put aside his earlier psych-folk attitude and got his hands on a bunch of machines, tape recorders and pedal effects. His performance at Acud Studio will be the second in town ever, after his Berlin debut at Occulto Fest 2015, where he opened for no less than Pure and z’ev.
… is a 2 day encounter inviting filmmakers to present their work and discuss contemporary means of audiovisual experimentation. Exceeding an entirely negative conception of today’s perceptual landscape, how can the reconfiguration of audiovisual media and technologies therein be a productive foundation for new means of ever-changing and heterogeneous narratives? How can this landscape be reflected, dissolved or disrupted in film itself? What are the appropriate means of sorting and resetting these influences, and what – if any – other modes of representation emerge between mere categories of newness and obsolescence, documentary, fictional, poetic, latent or evident imagery?