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專訪”Bike與舊電鋼”導演邵攀

文:沈行舟

在結束這次采訪之前,邵攀導演親自彈著鋼琴獻唱。一首約翰列儂的《Real Love》之後,帶著一種自謙,緊接著,跟上了一首自己的原創歌曲《每一種愛情都是一樣的悲傷》,帶著一些所觸,他開始講述這首歌背後的故事,故事裏的環境,環境下的人,人和人的事。

Continue reading “專訪”Bike與舊電鋼”導演邵攀”

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PUFF 2014 program for Hong Kong

It’s here finally! Program for PUFF 2014 Hong Kong:

PUFF went aboveground in Shanghai!

The PUFF 2014 season was soft launched in Shanghai with a test screening of a selection of award winning short films as a preview of  our main program coming later this year.

Since its beginning and up until recently, PUFF has been maintaining an underground presence in Mainland China by way of its secret China Film Club which hosted several unannounced invitation-only film screenings in various secret locations. PUFF feels that the time is ripe now to go aboveground to better fulfil its mission of promoting independent filmmaking in China.

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The event was held on the night of June 9th at the URBN Hotel in Jingan District. A total of 60 short films from 24 countries were shown with the winners of the Best Indie Shorts award given to Marioneta Ciega (Mexico), directed by Jaime Fidalgo and L’ombra Interior (Spain), directed by Arnau Segarra Braunstein. Please stay tuned for the announcement of the PUFF 2014 main program going to be held in Hong Kong and Shanghai in the last quarter of 2014.

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BPROMO EXPERIMENTA during ART BASEL

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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The Pineapple Underground Film Festival 2013

PUFF is becoming one of the most important indie film festivals in China and is located in the metropolitan hub of Hong Kong.  In 2012, we screened 56 films from 30 countries, over 3 weekends in June 2012.  The program was then screened the 2nd time in October 2012 at the West Kowloon arts and film festival of Clockenflap with over 3000 audience at the film tent, giving the films exposure to Hong Kong and serving as a gateway to Greater China.  7 of the 16 features films we screened were Asia Premieres; 1 was World Premiere and another 2 were Hong Kong Premieres.

PUFF 2012 Trailer original score music written by “Ah Kok” of Hidden Agenda

Photo stills from our 2012 Experimental Highlights –

This Side of Ressurection

Original Title: Deste Lado da Ressurreição(2011)

Directed by: Joaquim Sapinho
(113m, Portugal)

Click photo to see 2012 Trailer (3 min)

PUFF 2012 screened a total of 56 films.

16 Features Films including;

5 Doks Features;

25 Short Films;

10 Animation Shorts;

5 Experimental Videos & Films

from over 30 countries

China, Japan, Korea, India, France, Germany, Spain, UK, Romania, Iran, Oman, Sierra Leone, USA, Mexico, Chile , Brazil and Hong Kong

Selected Film Stills from 2012 Programs

Short Film Program – From Now to Eternity ( France/Japan)

Short Film Program – Manual for Bored Girls (Spain)

Doks Program – Orient Top Town (Hong Kong, China)

Feature Film Program – Re:play Girls (Japan)

Feature Film Program – Patient 17 (United Kingdom)

Doks Program – Fambul Tok (Sierra Leone)

Experimental Highights – This Side of Resurrection (113m, Portugal) 實驗電影 焦點 4 – 一半是火焰,一半是海水

Presented in loop at EXPERIMENTA video & film space

Deste Lado da Ressurreição
Directed by Joaquim Sapinho

2011

(113m, Portugal)

19-22 JUNE 2012

A beautiful meditation about life and faith – not only in God but in ourselves.  How strong can a film be?  Its images powerful enough to change our emotions. A film that deals both with surf and a religious personal quest.  Surfing can be a metaphor for life.  In our fast Internet age, when 140 characters can be a text, a film as ‘This side of resurrection’ can be a daring experience that forces its audience to take a deep breath and dive with its protagonists siblings into the ocean of life.


一半是火焰,一半是海水

To see this film ,  become our PUFF Film Club member !

Doks Hightlight – Cultures of Resistance (73min, Brazil) 焦點3 – 全球起義

( Brazil/ USA, 73min, 2011 ) OPENING FILM & AFTER PARY at Hidden Agenda 8th JUNE 2012 (Friday , 8pm-10:30pm) .   Shot in 5 continents, this is a film journey into the causes of contemporary war and conflict around the world,  an impassioned meditation on the apocalyptic problems facing humanity at this critical juncture in the history of the species.

Directed by Lara Lee

Location : Hidden Agenda 8th June 2012 8pm

 

Feature Hightlights 菠蘿焦點 2- The Language of Time 只在乎曾經擁有 (86min, Chile)

The Language of Time
Original Title : El Lenguaje del Tiempo
Directedby : Sebastian Araya Serrano
(1 hr 26 min,  Chile, 2011)  Asia Premiere
Location : EXPERIMENTA 16th June ( Sat.) 9:00pm

The Language of Time tells the tale of a Man and a Woman who get together in an attempt to reconcile their differences.  It is a exemplary first feature film by the Araya brothers from Chile ; an auteur film that is intensely poetic and that experiments with a new form of narrative and imagery.   Winner of PUFF Indie Award 2012.

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