On February 19 and 20, Dmitry Frolov's retrospective will take place in St. Petersburg, Novosibirsk, Yekaterinburg, Izhevsk, Irkutsk and Tyumen, opening a large cycle of screenings of unknown parallel cinema.

A big conversation between Ira Dmitrieva and Gleb Segeda with a director who embodied the ideas and dreams of poets, expressionists, symbolists, mystics and futurists on Soviet film — https://seance.ru/articles/dmitry-frolov

Vienna-based artist Johann Lurf is fascinated by image production and exhibition technologies, and his filmmaking practice is a diverse and thrillingly engaging demonstration of those passions.  Across his eclectic body of truly inventive films, he employs an acute awareness of the possibilities for magic and revelation to be found in the interplay of real and filmic space.  The elemental qualities of the moving image are activated via his conceptual and technical artistry and the medium itself always plays an active role.  The result is an expanded adventure of cinema that involves the viewer in a thoughtful exploration of perspective and time.

Rotten Love Redux tips its hat to the days of theatrical porn-going with a celebration of tactility, eroticism and utter decay. The program features 16mm porn and erotic films, each which incorporates decomposed or manipulated film stock in its depiction of erotic femme bodies. Working with both found and original footage, the filmmakers in this program employ a wide range of analog techniques—soaking, solarization, painting, scratching, burning—to alter celluloid’s chemical make-up and add a material element to the onlooker’s gaze.

We travel back to the years 1968-1972 when Ledoux was a brilliant programmer and festival organiser in search for thoughtprovoking cinema... that is still relevant in 2022. These two rarely screened masterpieces circulated in the best festivals of the time, including Ledoux’s own Films Jeunes / Films Inédits.

“This cinema 'au féminin' reminds us what the imperialist eye had repressed: different modes of editing impulses where what is seen and heard alters our perspective.” – Serge Daney, writing about DEUX FOIS in Cahiers du cinéma.