2014 Arquiteturas Film Festival

The Cinecity Architectural Film Project

Cinecity

Francis Matthews, Amy Czarkowski, Ted Sonnenschein, Amy Lunn, Diogo Morato, Eleanor Suess, Edward Couper And Allie Piehn,Vernon Cheung,Amanda Morgan, Namfon Udomlertlak, Susanne Chan, Alien Oosting,Situ Studi, Australia (2014) 35′ PP

In a fringe event aligned with the 2014 Australian Institute of Architects National Conference, Cinecity Architectural Film Project has invited local and international submissions of films which are a 60 second continuous in camera shot. These are architectural films which explore the Conference Directors theme: MAKING. This theme explore ideas about making architecture, which extend upon traditional practice approaches, challenging relationships between architecture and the cultural, the economic, the social and the political. The Conference subthemes are: making culture: to process, making life: to transform, making connections: to engage and making impact: to act.

Sarah Breen Lovett & Louise Mackenzie
Curators of Cinecity
www.thecinecityproject.com

Attention: This Can Be A Poem

atençaoÁureo Rosa and Luis H. Girarde, Brazil (2014) 4’50’ WP

The film seeks to show how an intervention in the public space can give a new poetics to a city.

ordinance 

ordinance_still_9Anuk Miladinović, Germany/Serbia (2014)  6′  PP

Seven men descend into particular hollows in the floor of a crypt, so that the architecture puts them all at the same level. Individuality is equalized by the symmetry of architecture. Before, they were seven men in suits, on their way to work, and now they are sunk into a larger plan. Two women stand before the gorge of a bridge that disappears in the center of the picture, keeping a look-out, waiting. Through the image, express trains shooting by half-individual, half-thing combine the scenarios and the artist’s observational space.

What Is Your Favorite Space

Qual_e_o_teu_ESPAÇO FAVORITO 01Sara Monica Cruz Nunes, Portugal (2014) 15′

To celebrate the Year of the Portuguese architecture, Building Pictures, launched a Call for Entries, inviting architects, students of architecture, landscape designers, anthropologists, artists, designers, directors, producers, creatives to document the Portuguese architecture, to film and share their perception and experience in the spaces covered of memories, inspiring spaces, their day-to-day spaces… their favorite spaces! 31 videos responded to the challenge, and 24 were selected and have been edited for this experimental documentary about the Portuguese Architecture: What is Your Favorite Space?

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Screen Shot 2014-08-27 at 1.16.00 PM

Anuk Miladinović, Germany/Serbia (2012) 9′ EP

Seven men waiting for an elevator. A woman cleaning. A teenager and a man traveling in the metro. An older man picks up the man from the metro station. Spaces change and interlace. Elevator doors open and close.

Mies En Scene

Joao Ó, Macau S.A.R. (2013) 26′ 

This film, titled Mies-en-scène, is inspired by the multiplicity of readings – including my own. First, they were translated into a sequence of moving images. Then, these moving images were deployed in the film by a process of delirious associations. Subsequently, they became strategic variables within a chronological timeline, thus activating a dialogue with history. In short, the cinematic framework reiterates a contemporary interpretation of the structure, nowadays called the “Barcelona Pavilion”.

Niagara’s Fury 

Niagara's Fury Pic2 (2MB)Benjamin R. Taylor, Canada (2013) 23′ PP

Niagara’s Fury is a photographic documentary that explores the city that has grown up around the world’s most famous waterfalls. A series of intricately composed tableaux examines eerily empty monuments to tourism, entertainment and consumption. The film ponders over the confusion and absurdity of mankind’s icons and why the falls might be so furious.

Pepper’s Ghost

pepper_ghostStephen Broomer, Canada (2013) 18’31” PP

How we may see in a Chamber things that are not! Here, mutations of light, through fabric, glass, and colored gel, make bodies and objects transparent. Let there be a chamber wherein no other light comes but by the door or window. Let pictures be set over against this window. For what is without will seem to be within, and what is behind the spectator’s back, he will think to be in the middle of the room, as far from the glass inward as they stand from it outwardly. Clearly and certainly, he will think he sees nothing but truth.