SlottsbiografenSaturday, 27 October 21:00
R*evolution is four programmes about change, necessary change. They track the wild tendencies and radical strategies associated with the movements around 1968. The evolution of the revolution is traced through the five decades leading us up to the here and now. If you look closely, they lead us even further beyond, into possible futures of the revolution. 1968 marks a turning point. A postwar generation was calling the shots.
A worldwide whirlwind of questioning the status quo followed. Second-wave feminism was on the uprise. Diverse elements of the public opposed the ruling conservative patriarchal practice, longing to have a say in shaping the world. 1968 equals lateral thinking, dissent, objection, and counter-questioning. It is common knowledge that the world has changed in 50 years, but despite this we need to discuss strategies of empowerment, battles of distribution, and the possibility of the participation of the individual. We demand taking part in the narrative, in historiography, and to thus receive recognition and visibility. R*evolution also takes a special look at Swedish filmmaker Gunvor Nelson. She’s one of the most charismatic and important filmmakers to come out of the 1960s, influencing generations of filmmakers. She interlaces the private and political gaze in her artistic practice of decoding. R*evolution offers aesthetic strategies –
inviting for a time travel in order to see today’s pop culture with a red eye. By taking a close look at the time, R*evolution presents aesthetic, political, feminist, and cinematic positions united by the belief that there is more than one truth, existing beyond the conventional, ruling narrative. Realism is magic, a deeply subjective understanding of the world is a strategy and leads to the conclusion: that film might be the far better weapon. Film is the most exciting medium of the 1960s. As evidenced by these programmes, until today it has not lost any of its explosive force. The programme Red Flags For Everyone was originated for Berlinale 2018. Maike Mia Höhne has curated Berlinale Shorts since 2007 and is a freelance writer, curator, producer, photographer
and director. From March 2019, she will be artistic director at the Hamburg International Short Film Festival.
AXIS OF EVIL
George W. Bush’s famous speech about the axis of evil is sung to the melody of a duet between Jermaine Jackson and Pia Zadora. And then the rain begins to fall.
THE NATIONAL REHABILITATION CENTER
Two years before Peter Watkins’ famous Punishment Park, director Penelope Spheeris takes the McCarran Act to its inevitable next step and shows us – via an early use of mockumentary – what the U.S. might be like if potential subversives were simply locked up en masse before they had a chance to subvert anything. Preserved by the Academy Film Archive.
Screened on 16 mm.
In a film that pays homage to the Hungarian revolution of 1956, the filmmaker describes being dragged to a Paris barbershop by his father 10 years later. On the way, he dreams that Paris will be destroyed so that he doesn’t have to get his hair cut. But nothing can be done. When he gets up from the barber’s chair, the end of the world has not come and the sky remains hopelessly blue
FOR THE DAMAGED RIGHT EYE
Presented at the symposium Expose 1968 at the Sogetsu Art Center 2, this film juxtaposes images of student protests, popular television, 60s psychedelia, scenes from the Shinjuku gay scene, and graphic art in a captivating montage that reflects the chaotic ethos of its moment. Matsumoto saw a paradigmatic shift in the heady, heated, hopeful moment of simultaneous global uprisings of 1968, and staged his own by triggering the first Japanese film expanded to three projections. Designed to dismantle conventional aesthetic values, the film’s dual projection with a third laid over the centre of the two juxtaposed frames expands filmic space to stage an intense visual assault.
Screened on 3 x 16 mm.
THE SUN’S GONNA SHINE
A lyrical recreation of Lightnin’ Hopkins’ decision at age eight to stop chopping cotton and start singing for a living. Musicologist Alan Lomax called Blank’s stunning and elegiac short on Hopkins’ reminiscences of his youth “one of the three most important films on the South.”
Complicated technical solutions to aid in simple acts of vandalism, Tool No 10: Robo-Rainbow. For his ongoing project with “instruments of mass destruction”, the Swedish street artist builds extremely complicated apparatuses in order to execute minimalist vandalism performances.
On the night of 22 July 2014, two filmmakers hoist two white American flags on the Brooklyn Bridge in New York City. They take the US flags down and fold them in the prescribed orderly fashion. Poetry or threat? An act of surrender or perhaps art? What happens when threatened freedom reinstates art with the element of danger? Who or what makes it into a threat?