SlottsbiografenFriday, 26 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.
A gorgeous and delicately haunting film that uses hand-processing, solarizing, and contact printing techniques to transform various sequences of found footage into an ethereal and sweetly enveloping experience.
Screened on 16 mm.
Made in an environment and at a time when frequent and gratuitous images of nude women permeated the work of her male counterparts, director Penelope Spheeris produced this intimate and sensual observation of a woman bathing. The appearance of Spheeris’ credit at the beginning of the film seems to ask the question: how does voyeurism change when we know the voyeur is actually a voyeuse? Preserved by the Academy Film Archive.
Screened on 16 mm.
WHY I NEVER BECAME A DANCER
The film invokes the artist’s early teenage years spent kicking against the boredom of the seaside town, Margate, where she grew up, and experimented with sex from an early age until she became disillusioned with men and turned instead to dancing.
IF EVERY GIRL HAD A DIARY
Setting her pixelvision camera on herself and her room, Benning searches for a sense of identity and respect as a woman and a lesbian. Acting alternately as confessor and accuser, the camera captures Benning’s anger and frustration at feeling trapped by social prejudices. These diaries are prescient works that portend YouTube and youthful digital culture with an extraordinary eloquence.
WHITE TRASH GIRL PART I: THE DEVIL INSIDE
This is the first installment in the monstrous adventures of White Trash Girl: a blond Super-Hero and Cyborg figure of a totally different kind. Born as the result of an incestuous rape, flushed down the toilet and raised in a chemical dump, the female outcast struggles for her survival. Her toxic bodily fluids and her knack for disrupting polite society situates the erupting human body in the form of a female super hero as a place of power and resistance.
I WAS A TEENAGE SERIAL KILLER
Mary was a good girl until she decided to kill all the “sexist pigs”. She of course encounters many, and enjoys killing them.
I AM A BOMB
A figure in a panda bear costume performs an erotic pole dance. On removing the panda’s head, a woman appears and steps up to the camera to deliver her own praises of a complex image of women, simultaneously strong and vulnerable, a potential powder keg.
HAVE YOU EVER KILLED A BEAR – OR BECOMING JAMILA
The history of a magazine – Cairo’s Al-Hilal ‘50s and ‘60s collection – is the starting point for an inquiry into Jamila Bouhired, the Algerian freedom fighter. An actress designated to play her role is showing the magazine’s covers to the camera. From the different representations of Jamila in cinema to her assimilation and promotion through the magazine, the performance attempts to look at the history of socialist projects in Egypt, anti-colonial wars in Algeria, and the way they have promoted and marginalized feminist projects. What does it mean to play the role of the freedom fighter? What does it mean to become an icon? Between role playing and political projects, how does the constitution of the subject serve certain political purposes?