Glued & Screwed #17 • Filmhuis Denhaag Filmhuis Denhaag

Sophie Czich, Syd Farrington, Bureau of Inverse Technology, Giovanni Giaretta

Glued & Screwed #17

(NL Below) Edition 17 of Glued & Screwed will be a collaboration with The Balcony, an exhibition and curatorial platform based in The Hague and founded in 2018 by Arthur Cordier & Valentino Russo. Through e-mailing back-and-forth various inspiring art- and short film titles, the silhouettes of a shared interested started to appear from amongst the digital correspondence. It’s contours, it turned out, consisted of urban life at the interplay of architecture and politics, and with that a visually striking and pertinent short-film program was quickly formed, representing an exciting mix of talented local and international filmmakers.

Trigger warning: the fourth film (Suicide Box) contains content about suicide. Suicide is preventable and support is available: 0800 - 0113

This edition will screen:

Where the facade bends  Sophie Czich

2021, Netherlands | English language, English subs | 6 min. 

Using a mix of architectural renders and advertising imagery, Where the Facade Bends takes us on a tour through the fabricated realm of insincerity that makes up the housing industry. Narrated with direct quotes from slick-tongued marketing agents and inflated housing ads, the obvious and unapologetic fixation on perfection and unrealistically idyllic world-building becomes ever more absurd. Accompanied by a distant and increasingly ominous smooth-jazz tune that you’d expect to find in the elevator of an abandoned mall, the film offers an innocently critical look at the reality of a world in which only shiny happy people live and enjoy their Sunday afternoon lying on synthetic grass shaded by fake plastic trees.

Minimal Sway While Starting My Way Up — Stéphanie Lagarde

2021, Frankrijk | English language, No Subtitles, 16 min.

In a world where semi-automatic doors are eyelids and wire cables as thick as forearms warrant lateral movement on a predetermined life path, we hear a phlegmatic voice reminiscent of HAL9000 from Kubrick’s 2001: A Space Odyssey contemplate life. We are spectators to an intelligent elevator, as it turns out, that with the curiosity of a newborn baby is discovering the world while remaining forever fixed within the rigid body of a high-rise building. Through the use of found-footage material, digital interfaces, original camerawork, and the sampling of text material that make up the elevator’s narrated thoughts, the film offers an intriguingly creative exercise in conscious anthropomorphization (the attribution of human traits, emotions, or intentions to non-human entities). Ultimately, Minimal Sway While Starting My Way Up gifts us an insightfully philosophic and exhilarating way of reconnecting with the world.

Descent — Syd Farrington

2023, United Kingdom | No Dialogue | 6 min.

The imposing and repetitive stature of high-rise buildings in contemporary London is captured with telephoto lenses and zoomed-in shots that move up and down the entire length of their skeletal frame figures at a disorienting speed. A technique that forms an ingenious parallel with the strips of 16mm celluloid that it’s shot on, as they swirl through the various arms and spools of the film projector at 24 frames a second. Decent paints a captivating and sometimes overwhelming picture of an urban landscape in flux and gracefully contrasts it with shots of its inhabitants and warm orange rays of sunshine that persistently find their way through the concrete jungle.

Suicide Box — Bureau of Inverse Technology

1996, United States | No Dialogue, English subtitles | 13 min.

A documentary about the B.I.T. Suicide Box (a motion-triggered camera developed by the Bureau of Inverse Technology) that accurately records anything that falls from the Golden Gate Bridge in San Francisco—amongst the most popular suicide spots in the United States. Installed without permission from local municipal authorities for a period of over 100 days, the project’s data-centric and formal approach to such a sensitive subject as suicide draws a violent and consequential connection between structural architecture and contemporary culture.

La casa (ostinato crescendo) — Giovanni Giaretta

2018, Netherlands | No Dialogue | 6 min.

Extremely deliberate and evocative footage of old Victorian-style houses that, for most of us, exist only in picture books and horror films. Through the use of odd angles, eerily fluid camera movement, and slow, intensifying zooms, La Casa (Ostinato Crescendo) is a fascinating study of techniques constructed to evoke tension. For the average viewer, the architecture of a free-standing Victorian house has probably become inseparable from feelings of slight discomfort or simply a sight of fright. The film shines a light on the question of how much of this psychological effect is coming from the inanimate object itself, and how much of it is the result of years of cultural references in books, films, and television shows.

Glued & Screwed #17

Kort experiment op het doek

Glued & Screwed is een project door screening platform wysiwyg in samenwerking met Filmhuis Den Haag. Deze filmavond dient als een platform voor experiment van (jonge) kunstenaars, ontwerpers en andere makers die met medium film werken. De films en visuele taal die missen in het reguliere filmlandschap krijgen juist hier podium en bieden de bezoekers uitdagende ervaringen.

Tijdens een nagesprek met makers in de zaal of bij de borrel beneden is er ruimte voor dialoog en kennismaking.

Lees hier meer informatie over Glued & Screwed.

Regisseur Sophie Czich, Syd Farrington, Bureau of Inverse Technology, Giovanni Giaretta
Land Nederland, Verenigd Koninkrijk, Verenigde Staten
Taal Engels, Geen Dialoog
Ondertiteling Engels
Speelduur 90 min

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