2022 NOMINATIONS
BEST
CELLULOID FILM
The Bearers of Memories
dir. Miglė Križinauskaitė-Bernotienė
Nominated for Best Celluloid Film
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With every moment - one more memory. But memory sometimes goes blind and what is left becomes hazy.
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P L U M E
dir. Mike Rollo
Nominated for Best Celluloid Film
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Fingers pluck fallen evidence of flight; placed and traced to make avian light.
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Autoritratto all'Inferno / Self-portrait in Hell
dir. Federica Foglia
Nominated for Best Celluloid Film
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This hybrid piece is a collage created assembling both analog and digital material. Several layers of 8mm films merge to create a camera-less self-portrait of the filmmaker. The first layer is an 8mm orphan film (found footage) from the 1970s of a woman dancing. The second layer is an 8mm found footage film that has been buried in earth for some months. While being covered in earth, the film emulsion has been eaten by the bacterias in the ground, plus some bacterias from yeast and sugar. This technique was originally used by the Schmelzdahin group in Germany. After several weeks in soil, the film gets extracted, rinsed, and scanned via a 4K digital scanner. The third layer is an 8mm home movie that has been first decayed in soil, using the aforementioned technique, then hand-painted with ink.
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Un-Tidal
dir. Masha Vlasova
Nominated for Best Celluloid Film
European Premiere
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An experimental film essay about a found (stolen?) photograph, a hurricane, and film’s inherent ability to animate and re-animate still, dead, and inanimate beings, images, and objects. The film is created using an ink-jet direct-on-film technique where the digital frame is printed directly onto onto recycled 16mm celluloid.
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from time without beginning
dir. Lorenzo Gattorna
Nominated for Best Celluloid Film
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'Death in Kashi is "liberation"'. – "Death in Banaras", Jonathan P. Parry, 1994
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Press Pound to Connect
dir. Alexander Fingrutd
Nominated for Best Celluloid Film
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This film was hand processed, shot on 16mm film, and created using a masking technique and appropriated images. The nine equal parts reference the Pound Symbol on a telephone keypad. Here, it is used as a symbol for connection. We are connected to more than what is immediately around ourselves: to each other, the planet, and the farthest galaxies. What distant things are having an effect on us and what are we non-visibly affecting? The similarities between these connections are represented through overlapping images. It shows a change in perspective, going from the individual singular self, to a view where there is no divide between self and other. It brings us to a cosmic, all-encompassing view, divided in space and tied together through telephone wire.
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HONORABLE
MENTIONS:
Diaphone Island
dir. Yannick Mosimann
Honorable Mention
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A recurring drone changes and reshapes the land and sea.
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To All Those
dir. Josh Weissbach
Honorable Mention
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A city symphony in miniature, dedicated to anyone who has gotten lost in thought while stuck on the midwinter train. to all that unfolds in those private reveries.
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