1. SlottsbiografenFriday, 26 October 19:00

Intro: Shalimar Preuss

This past year, Shalimar Preuss’ latest short film, Étrange dit l’ange (Strange Says the Angel) has garnered attention throughout the short film world. Just this spring it brought home the main award from two of the foremost short film festivals in Europe. Rightly so, too, because it is a remarkable work, full of ”elegant and profound storytelling, edged with mysterious yet gentle danger, rooted in the rich layers of family life”, as one jury put it. This beautiful drama follows an isolated family who, despite the verdant surroundings of their rural home, seem to be living in an apocalyptic future. It shows the filmmaker
achieving something approaching magical naturalism – truly stunning and magically sublime, yet firmly rooted in the real world. This is not the first time Shalimar Preuss
has managed to combine uncommonly sensitive and uninhibited performances from mostly non-professional actors with hints of dreamlike realism that capture richly layered subjective realities. The nuanced portraits are often set against untamed nature, allowing her to explore concepts of mortality, tradition, nature, and loneliness in a subtly incisive manner. Most of her films, including her feature film, have this rare quality. In a way it makes sense that she has returned to short filmmaking after an excursion to features. Her films seem like they are coming from someone who has experienced feature work and returned to short film for the unique and limitless possibilities it
possesses, and Shalimar Preuss uses every single frame to full effect. Shalimar Preuss, currently living and working in Paris, has both French and Canadian citizenship. From 2004-2006 she studied Art and Film in the USA, as well as in France at Le Fresnoy – National Studio for Contemporary Arts. Her first feature, Ma Belle Gosse screened at IFFR in Rotterdam, Bafici, IndieLisboa, etc. and was awarded Best French Film at Belfort in 2012 before being released theatrically in France. Shalimar Preuss will be present at the screening to talk more about her filmmaking.


“We must be still and still moving” (TS Eliot, Four Quartets) ”No more forms, but instead, cinematic relations between unformed elements.” (Deleuze & Parnet, Dialogues)
A crossing through a dark forest. A young woman keeps the wolves at bay with the help of matches. Searching out through the intervals, the chasm, the blank. Enduring. Making one’s own of continuity, suspension, standstill. Originally a video installation for two screens.


A vacation town by the sea. A young mother and her two children are waiting for lunch in a café. And this is where the story ends, for this is the last time they will all be together around the same table. A penetrating family drama about loss and emptiness, acted with beautiful naturalness by an actress and her own children.


Volunteers hold funerals for unknown or forgotten deceased. On the beach in Stella-Plage, a phone booth is ringing. A young couple strolling by picks up the receiver. At the other end of the line, a mother is trying to reach her daughter. An extremely well-balanced film about how everyone has their own way to combat loneliness. The film received a honorary mention at Internationale Kurzfilmtage Oberhausen and was nominated for Best Short Film at the European Film Awards 2010.


Screened on 35 mm


Seven-year-old Nina cannot be her aunt’s daughter. Nor can she be her father’s lover. In this world threatened by contamination, what, then, is Nina’s place? The film received 2018 Bill Douglas Award for International Short Film at Glasgow Short Film Festival and NTR Go Short Award for Best European Short Fiction Film at Go Short International Short Film Festival Nijmegen


The two scenes screened from this work-in-progress take place in a remote mountain village where Marceau, 17 years old, is mad about his newborn brother Ange. Throughout the years, the two grow inseparable. Marceau becomes the best wrestler in the country until his younger brother challenges him. Loosely based on Jean Giono’s eponymous novel, the project brings together two filmmakers: Delphine Balley and Shalimar Preuss. Their intent is not to co-direct the film but rather to each render in separate chapters their own personal perspective and impression, hoping to enter into an enriching filmic dialogue with each other. This twofold approach to narrative cinema is set in the Vercors, a French pre-Alp mountain range, where both filmmakers and their cast of non-professional actors live.