Gregory J. Markopoulos. Filmmaker, born in Toledo, Ohio, 1928, died in Freiburg im Breisgau 1992

Sorrows 1969, 16mm, color, opt. sound. 6 min.
“A powerful mood piece, it uses only the light and color emanating from the enclosed surroundings and selected objects… It evokes, without the presence of a single ‘living’ being, the reality of a life or lives, passing yet present, persistent, like a fragrance,reverberating with continued expectation. “ Kirk Winslow
https://www.thetemenos.org/

Peter Todd works with film as a maker and as a curator. For him the dialogue between the two is a creative one. He works over time, one project leading to another. He enjoys the friendships alongside the solitary periods that come from his way of working. Starting points for his films can be something seen, a particular sensibility, or thoughts emerging between some images. Working intuitively. An occasional image gathered.

Sequences of images gathered. Time passing.Together. 2018,16mm, color, silent. 2’52min. ‘A tomato might be a planet. Daisies are stars in a heaven of grass. A tumbler of water is a sun around which all things turn. Gareth Evans. Room Window Sea Sky. 2014, 16mm, color, silent. 3 min. Alone and thinking with the camera. Being in the moment of filming. A single roll of film. The images in the order filmed. PT.
https://lux.org.uk/artist/peter-todd/

Ute Aurand. 1979-85 Studium an der Deutschen Film- und Fernsehakademie Berlin. „(...) Aurand works within the artisanal tradition, shooting and editing her 16mm films alone. She favours responsive handheld camerawork and a distinctive editing style that is at once energetic, rhythmic and tender. (...) Aurand's is a cinema of intimacy, populated by friends and family, daily experience forms the basis for a practice rich in lyrical beauty. (…)“ Erika Balsom www.uteaurand.de

Glimpses from a Visit to Orkney in Summer 1995 2020 16mm, silent, 4’30min Im Sommer 1995 besuchte ich die Schottische Filmemacherin Margaret Tait auf Orkney. Spontan filmten wir mit meiner Bolex einige Titel ihres Filmprojektes "Video Poems of the 90’s" wie "Lapping Water", "Turning the Page", "Rust Everywhere". In "Glimpses..." montierte ich einige unserer Bilder zusammen mit unscharfen abstrakten Farben. Sakura, Sakura 2015,16mm, color, opt. sound, 2’30min. Während meiner Dreharbeiten für JUNGE KIEFERN (2010) begegnete ich zwei sehr unterschiedlichen älteren japanischen Frauen, eine macht ein traditionelles Handwerk und singt ein Lied über SAKURA (Kirschblüte) während die Andere einfach in die Kamera schaut.

Ewelina Rosinska ist eine Filmemacherin, die in Polen geboren wurde und derzeit in Deutschland und Portugal lebt. Sie ist Absolventin der Deutschen Film- und Fernsehakademie Berlin (2022), wo sie an den Bolex-Workshops von Ute Aurand teilnahm. Seit 2018 arbeitet sie an ihren eigenen Experimentalfilmen.

Diptychon 2024, 16mm to ProRes, color /b&w, sound, 6min. Diptychon ist ein Film, der Aufnahmen aus Polen, wo ich aufgewachsen bin, und Portugal, wo ich seit einigen Jahren viel Zeit verbringe, kombiniert. Ich finde die Gemeinsamkeiten zwischen diesen beiden Ländern in ihrer Natur und Kultur.
https://ewelinarosinska.com/

James Edmonds. The little personal myths and structures we set up to aid the survival of the psyche in times of low harvest. Finding subtle points of reference in subject and camera movement, in the landscape, its details and the traditions of the season, I attempt to connect the outside with the embodied camera and the inward gesture of the brush mark.

Configurations 2021, 16mm, color b&w, sound, 8min.Configurations is formed from five reels of 16mm of small moments from my daily surroundings, often solitary, in the studio, or visiting my parents in England, each with a certain winter atmosphere. The final roll was superimposed with images of my paintings, filmed just after the first lockdown began in 2020. The film shifts constantly between these five rolls of film, always in the same order, creating its own inner logic of chronology and montage, time and space. Reflecting the winter months of less intense productivity and more inward reflection, the film also touches on the presence of my father and his interest in the rural folk dances of England, their connection to nature and the cycle of the seasons. J.E.
https://www.jamesedmonds.org/

Helga Fanderl. Orte, Motive, Bewegungen, auf die ich stoße und die mich zum Filmen bewegen, wenn ich frei mit der kleinen, leichten Super 8-Kamera unterwegs bin, sind glückhafte Funde. Ich finde sie, sie finden mich. Anschauung und Empfindung, Stimmung und Gedanken übertragen sich im Moment des Erlebens auf die Arbeit mit der Kamera und auf den unsichtbaren Filmstreifen im Innern der Kassette. Es geht um blitzhaftes Erkennen, filmisches Sichtbarmachen und Bewahren des Flüchtigen.

Nacht am Kanal, 2002 Schneefall,2010 Weiße Blumen (Für P.),2016 & Wildgänse 2016 Super8/16mm, 18fps, s/w, stumm, 9’30
Mit meinen Filmen gestalte ich stets wechselnde Programme. Jedes Programm besteht aus einer Komposition ausgewählter Arbeiten, die für die Dauer der Vorführung einen‚Film‘ bilden, ein dichtes und zugleich lockeres Gewebe von Bezügen, Korrespondenzen und Kontrasten zwischen Motiven, Rhythmen und Texturen. Die einzelne Arbeit wirkt in der Kombination mit anderen Filmen jeweils anders, länger oder kürzer, schneller oder langsamer und lässt sich neu lesen und verstehen. H.F. „Die kurzen Stummfilme beschreiben eine innere Realität. Es entstehen essentielle Bilder. Sie evozieren Déjà-vu-Erlebnisse, die an Szenen aus der Kindheit oder aus der Malerei und Literatur erinnern.“ Kasper König
https://helgafanderl.com/

Antoni Orlof, born in 2002, is a filmmaker based in Warsaw, Poland. He is mainly interested in the poetic and narrative possibilities of images, as well as editing structures. Driven by a fascination with light, time and symbols his work delves into themes of memory and personal experiences.

Ukryte/Hidden 2022, 6min, ProRes. “In the palm of my hand, there lies a memory, a faint reminder of what once was. A melody, a song for what is forgotten.” Ukryte is a project that came to me unexpectedly and became the first work I considered a complete film. It’s a collection of fleeting images, which compose a short, almost musical piece. I shot and edited it in the fall of 2022 and just a couple months later I joined the ‘Eniaios’ restoration workshop. So in some ways I find it very fitting that the film has never been publicly screened until today. A.O.

Eva Claus, Born in Brussels in 1992, Eva Claus is an audio-visual artist working primarily with 16mm film. Her practice is driven by observations of unexpected encounters with landscapes and people, natural habitats, space, psyche, circularity and the means of film itself.

To Be A Day 2024, 16mm, CA/BE, 8 min. A window to the outside world, just like the camera's frame. Through this window, I watch the sunrise. To Be A Day captures the sun casting its light over a vast seascape on Fogo Island, Canada. Between sunrise and sunset, a series of white dots appear. These white circles reflect the moonlight, guiding fishermen as they walk across the pier to their sheds and boats in the early morning. E. C. https://evaclaus.com/

Jeannette Muñoz Studies in Visual Arts at Universidad de Chile. Lives and works in Zürich and Santiago de Chile. As an independent filmmaker/artist, she makes 16mm films since 2001 that circulate primarily in an experimental and non-fiction film context.

ENVIOS, 2005-ongoing, 16mm, color and b/w, silent
Envio 6 for Sofia Werder 2007, 5’45min / Envio 23 for Robert Beavers 2010, 6’16min. Envíos is an ongoing project that I started in 2005. It consists of 16mm films that I dedicate to people as letters. Creating and dedicating an Envío is a personal and intimate act which is subsequently presented to the public. J.M.
https://vimeo.com/user31045863

Larissa Krampert & Björn Schmitt kamen zum Filmemachen über den Umweg des Filmezeigens: Berührt von der gleichsam großzügigen und intimen Erfahrung, handgemachte Filme mit einer Gemeinschaft zu teilen, begannen sie, selbst mit Super 8 und 16mm-Film zu arbeiten.

A New Year 2024, 4 Min, 16mm, stumm. Ein Jahr endet, ein anderes beginnt. Einige Tage in einer kleinen Hütte nicht fern der tschechischen Grenze. Der Rhythmus der Tage diktiert den Rhythmus des Films – ein Feuer machen, aus dem Fenster blicken, die gemeinsame Zeit am Tisch. Der Film ist Teil einer Porträt-Serie von Menschen und Orten, die im Laufe eines Jahres gefilmt wurden. L.K., B.S.

Robert Beavers has made 16mm films since 1967. His recent films are lyric portraits in domestic spaces, filmed in Massachusetts, Switzerland or Berlin.

“Der Klang, die Welt…” 2018, 16mm, color, sound, 4.5 min. “Der Klang, die Welt…” was intended as a gift to Cécile Staehelin. For over ten years, I lived below the Staehelins and would hear Dieter & Cecile play duets every Sunday afternoon. Dieter  Staehelin speaks about the place of music in his life; we hear & see them performing anArabesque by Bohuslav Martinů. Cecile had once mentioned to me a wish that her life  might end like the last notes in this piece of music. R.B.
https://robertbeavers.com/