Long before embarking on his monumental series "Architecture as Autobiography," dedicated to exploring the centerless labyrinths of modern architecture around the world, German filmmaker Heinz Emigholz made a series of films in the 1970s whose purpose was to rethink the basic elements of cinema from a disruptive perspective. Schenec-Tady II and Hotel are two of the most compelling examples of this project, which seeks to implode the notions of time and movement through dizzying camera editing, optical reprints, and sonic shocks, propelling the viewer into an experience of spatial estrangement that is not without its rapture.

Digital screening with presentation by Pablo Marín.

Program:

• Schenec-Tady II (1973, 19’)
• Hotel (1975-76, 27’)