Twist, Topple, Turn, Twiddle #3

Fasten your seatbelts and level those dolly tracks!

Twist, Topple, Turn, Twiddle is an abstract experimental film program centered on movement. Each edition explores a different kind of motion - turning, tilting, panning, falling - offering a boundary-pushing approach to exploring experimental short films. 
Twist, Topple, Turn, Twiddle invites anyone eager to dive into visual experimentation in film and art, letting the senses take the lead.

For Turn: the third part of wysiwyg's quadriptych guest program at Flora, we will be focusing on panning, sweeping, and sideway camera movements.

Programma

Commute
Henry Hills
AT, CZ | 2024 | 9 Minutes

 “Commute” generally means “to exchange, convert, transfer, transform”, and Henry Hills’s film of the same name also focuses on this sort of interrelationship. Railroad tracks, filmed from a train window, form the material basis of a (filmic) perception in constant motion. For over ten years, Hills commuted by train between Vienna and Prague and couldn’t resist the temptation to use his Bolex to follow the view the railroad tracks were presenting to him along the way. Tracks, sometimes single, sometimes in pairs, branching, then straight again, and very many railroad ties, moving past too quickly for the eye to register: all of this forms the highly dynamic and amazingly rhythmic basis of this minimalist hymn to train travel. The whole thing is matched up with an equally swelling, staccato-like collage of a myriad of musical fragments from tunes, from jazz, blues and country to rock and metal, in which the rhythms – and myths! – of train travel were “enacted” over and over again.

Mnemonic Shore
Clémentine Schmidt & Nanno Simonis
NL | 2023 | 7 Minutes

In the mist in which existence lies, memories crystalize from past moments lived. Might be altered, might become in part fiction, but neither are any less real. These captured images are stored somewhere behind our physical facade where falcons of the inner eye murmur through the mind, above a sea of silver-like memories. A furious oximoron.

59 20 39 N 18 00 33 E
Dan Lageryd
SE | 2015 | 10 Minutes

A filmic preservation of a highway. A scan of the asphalt, emulsion to emulsion, strip to strip, pebbles to pixels, kilometers per hour to frames per second. Also a film about film, with a variable speed reflecting the rhythm of traffic, set to the sound of speed and friction.

Face Home View
Raquel Vermunt
NL | 2022 | 9 Minutes

‘FACE HOME VIEW’ listens to the echoes of time passing, reveals traces of life, sounds and movements. Fleeting moments captured by the silent walls of the location the work portrays.

Rev
Seoungho Cho
US | 1997 | 12 Minutes

In Rev, Cho continues his examination of identity within an urban environment, envisioning the frenetic dissonance of an urban landscape that is at once alienating and poetic. His aggressive observation of pedestrian traffic is portrayed with a blurred and highly saturated aesthetic. A candle's flame methodically waves back and forth, suggesting the private time within the accelerated urban experience.

Soundtrack: Tracy Leipold (voice), Stephen Vitiello (guitar, sampler).

Höhenrausch
Siegfried A. Fruhauf
AT | 1999 | 4 Minutes

A cinematic myriorama constructed of hundreds of Austrian postcards, which reflect a country´s hackneyed trappings as no other medium can. The parameters of this experiment have been clearly defined: Two rows of postcards with mountain motifs (the cards in the upper row have been turned on their heads) are juxtaposed in such a way that mountains point to other mountains, resembling Chinese "cadavre exquis" cards which can be arranged to show an endless landscape. The camera pans to the right, and its speed varies while alpine folk music plays in a monotonous loop. One would expect the camera´s movements to accelerate, the mountains flowing together into a blurred line. Instead, Fruhauf works with imponderabilities, breaks and irritations. The acceleration is not continuous; there are new approaches, repetitions of motifs and jumps. The transitions shift and are jerky as if the postcards were held in someone´s hand; the unity of the individual shots is extremely unstable.