PUFF's blog for film buff


May 2013

Special Live Performance: Film/Rock Opera “The Lives of Hamilton Fish” 9th June (Sun) 7-10pm

Hamilton-FishA unique experience of music and visual, daringly original filmmaker and musician Rachel Mason will be in Hong Kong to sing her rock musical / feature film live at Hidden Agenda.

An amazing coincident about the disparate lives of two people with the same name inspired Rachel to write this suite of songs and the accompany colourful visual.

This is a special presentation as part of PUFF 2013. Free entry for all. PUFF Up Film Club members can reserve their seats. Details in our next member’s news. Just sign up on our website here

Q&A with filmmaker afterwards.

Check out the trailer here and Rachel’s other performance here.

The Lives of Hamilton Fish (94min, 2013) USA
World Premiere
Musician, actress and sculptor, creator of “The Lives of Hamilton Fish” Rachel Mason

Interview with Adriano Barone from Milan Italy

My name is Adriano Barone and I’m the director and writer of the short movie: “Tipologie Di Un Amore Fantasma:Armonia Vuota”.



PUFF: What is your inspiration in making this short film?

ADRIANO BARONE: This short film is a spin off of a graphic novel I wrote, “Tipologies of a Ghost Love”. It deals with the topic of unrequited love, which I’m quite obsessed with. Since I don’t consider my exploration of this theme to be over with the graphic novel, I feel compelled to produce further material, be it prose, other comic book stories or short movies, like in this case. In fact, the art subliminally inserted between or during scenes comes from the graphic novel.

As to the short movie itself, it basically started from the location: a deserted but not ancient house, a place that gave clearly the idea of abandonment, but still kept signs of recent events that took place there.

In a certain sense, the idea was to elaborate and to visually tweak a little the ghost-haunted house topos; the next step was telling the story of the ghosts haunting the place. And that story was about unrequited love. Again.

Since the location in my mind was the main character, so to speak, I decided I could visually express the idea of opposite feelings in the simplest way, through colour/black and white contrast, and then making it more complex by having different voices over that told two completely opposite versions of the same story.

PUFF: Your work is simple yet powerful. Tell us in your words of your narration/ experimental / cinematography styles.

A.B. : I love both mainstream and experimental movies, novels, comic books/graphic novels, but as far as my writer/graphic novel scriptwriter activity, I’ve always preferred to mix more genres in the same story (this is probably due to the fact I love Hong Kong and Far East movies…) and write stories with a surreal and weird tone.

In general I like imperfection, unresolved moments and scenes, anti-climax, counter-endings. If we consider standard storytelling to be a rhythm, we can say I have a backbeat approach to it.

As to moviemaking, this first short movie is experimental but it’s also my first directing experience. I think that after a short story collection, two novels and four graphic novels I’ve found my voice as a (script) writer, but of course I’ll need to direct many more movies to be able to say the same of my direction.

PUFF: Tell us more about your background and training

A.B.: I have a degree in foreign (English, American and Latin American) literature, plus a comic book scriptwriting diploma at the Milan School of Comics. But I’ve always wanted to give a try a film-making too, so I wrote tons of scripts for short and feature films that eventually got never produced. It was a good learning experience, though. Since I was not satisfied of the very few short movies made out of my scripts, I decided to direct one of my scripts on my own. And since it was my first direction, I decided to start little.

In light of the budget restraints (this is a very-low budget movie) I consider being selected at the PUFF 2013 as a huge achievement, and it makes me hope there is an audience, even if small, for the other sick and weird movies I have in my mind.

Experimental films : Jonathan Ebron of Hong Kong

P1210020Disappear 9 min

“My art was first about exploring religion. My mother is a nun ;  and I was an altar boy.  I started painting. For a long time, I have a lot of things to express, but no one really cares about everything you want to say.

So my work becomes more and more minimal.  I began to explore with light.

I was doing three jobs.  It gets hard.  I want to make the art I want. In Hong Kong, it is about selling art and not making art.  You struggle when you want to persuade something but you still need to do the normal thing. So my art becomes more about hidding.

My experience with Experimenta is that it’s refreshing.  She had no rules.  So I am free to put my art. It was like, what do you want to do, what can you work with.  After talking for 30 minutes, it’s .. OK let’s do it. This is a small place, but I was working with a big thinking space.

They did it wrong.  They don’t let us grow in our own rights.  I can’t compete with the big guys.  There is hope. It’s a good time in Hong Kong. It’s starting.  We still have a chance.

“During the crash and the deflation of the duck, we sent the ducklings to the Victoria Harbour in Tsim Sha Shui, …silent from the artist ”

Jonathan Ebron during Art Basel, where he is routinely putting up the Trilogy stickers around town.

Out of the beaten track & outside of your usual Art Basel destinations, Melissa Pierce chose Top Ten Hong Kong Galleries to see contemporary visual art during the Art Basel week.

Where to go during Art Basel week : Top Ten Galleries in Hong Kong

Experimenta is now showing The Trilogy Project 23 (Thurs)-27(Monday) May 2013

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Videos & Sound Installations

23-27 MAY 2013 (Thursday  through Monday)  12-7pm

Gabriel Hošovský (Slovakia)/ Gheorghe Sfaiter (Romania) / Jonathan Ebron (Hong Kong)

Routinely and efficiently, Gabriel Hošovský (above photo) paves the way to his own downfall as he cuts off the branches he is sitting on. An understandable practice, it seems, for those who have lived behind the Iron Curtain. These performances, which are enacted in a post-Soviet scenario, affect the viewer as if they were the alarming message of a worldly-wise man.

It doesn’t matter if the rhetorics of socio-economic crises prove to be correct or not – or  are we going to act as clever as he does ?

A summary of questions about existence and security of the future via their own steps.

Hošovský’s rule #1 says: ‘Life goes on.’  Hošovský lives and works in Bratislava, Slovakia

Experimenta : Your work is intense and you have put yourself in danger while filming it. Could you tell us your life experience that made you perform this work?

Gabriel Hošovský : Maybe it was from a desire for touch and danger as basic modes of existence. This is one of my several projects in which I seek answers to questions about our existence, what we do here and how we live. I try to answer these questions and to express them as clearly and as simply as possible. For me, the videoMiscellany XIII. brings simple and clean ways of acting to the edge of my experience while shooting. It is a search of some imaginary ‘zero point’. I am looking for a point that demands that I get rid of all formal elements of art. The question is, how much art is still left?   

portrail_Gabriel_HosovskyWho are the filmmakers or video artists who had inspired you?

I cannot name any particular inspirational source or medium. If I wanted to put my film in context, I would rather mention my series of booklets (Miscellanies) that I have been working on since 2010. My previous projects were not film related, they were photo-, text- and mixed media concepts.

What are your other work and are they related to this work, maybe with the same theme?

As I have mentioned, seeking answers to essential questions – unlike in the art we experience nowadays – is part of my ongoing project to explore fundamental answers using simplified questions, such as: What? Where? What is art? Where is art? – series of photographs from my trip across Europe –Miscellany VIII and IX). I also work with the idea of “lost and found identity” by repainting found works by unknown dead naïve artist who used the same initials, ‘GH’ as I do. Additionally, I look for possible connections between published photographs that never had anything in common; or I intuitively search for new relations between common situations along with the presentation of human characters through their portraits (upcoming video project ‘victims and offenders’).

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stills from Miscellany XIII , showing at EXPERIMENTA during Art Basel

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Ten Best Gallery in Hong Kong May 2013 Culture Trip UK

Gheorghe Sfaiter lives and works in Romania. ” First of all I have to mention that this film is my practical application of my PhD, entitled: „Fragmentation, ecletism and deconstruction in visual-cinetic arts” in which I have tried to see how a discrepant editing will work, after Isidor Isou`s model „Venom and Eternity”.

Usually the memory is revealing memories with many uncertainties, especially in the affective zone, so that the image of a further past becomes more or less deceitful. There are moments when you ask yourself:  „is what I remember real or delusional?”

I have lived along with my parents some moments of material deprivation, but what deeply touched me were the lies and the hidious propaganda of the personality`s cult. And almost like a phisical pain was the  lack of freedom of speech.

The found footage reveal a brutal reality, and to answer to your question, judged by the spectators they have a relevancy in the models more close to them, and your remark that the communism works on a tipical model (the soviet one), I`m sure it worked in general the same in Romania as it did in China.

About the sequence with the boy in black and white in the orchard, it is not a social-politic association, it`s more a life tied parabola in the most direct sensorial way, that of the Freudian libido, of the desire itself. In my years of television, I have met people that lived extremly hard times in concentration camps or in deportation, but who still, unwillingly, kept saying: „it was nice that we were young”. So, in this sequence, I try to evoke the spirit of the age, totally separated from social-political context. I kind of suffocation of the will (that is why the boy is represented in black and white, and the rest – the urges – in color).

Yes, a part of the found footage is from the television I work at, and the other part from an amateur cine-club where I began to approach film in the 1970`s, but are not captured by myself.

I would like the film to be presented in a contamporary art gallery, in a big hall with 12-14 screens, suspended on ropes, just like laundry, but in the same planes, and in different dimensions. On these screens I would like sequences of the film projected in a certain succesion, with an initiatory taste. This way, the incert image of the memory would be showed. ”


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