| LIVE LAB : |
| ( av / sound / music) : |
| Makino Takashi |
| Signe Liden |
| SonADA |
| (film) : |
| Bertrand Mandico |
| Elina Löwensohn |
| Katrin Olafsdottir |
| Sebastien Ronceray |
| (residenciess) : |
| Benedicte Clemetsen |
| Brendan Colvert |
| Douce Mirabaud |
| Rikke Benborg |
| Simon Hjermind Jensen |
| Stuart McLean |
| (storytelling) : |
| Erin Catriona Farley |
| Tom Muir |
| SCREEN : |
| (pgn open call) : |
| Anne Robinson |
| Arnont Nongyao |
| Calum Stirling |
| Dan Shay |
| Deniz Üster |
| Elen Gruber |
| Gabriel Otero |
| Grace Schwindt |
| Gustaf Broms |
| Jessica Cheeseman |
| Maren Dagny Juell |
| Mademoiselle L |
| Ola Surdacka |
| Richard Ashrowan |
| Verena Kyselka |
| Cassia Dodman and Duncan Herd |
| (partners programme): |
| 700IS |
| FixC |
| SKOGUL GONDUL |
| VIDEOTAGE |
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| Sebastien Ronceray |
| Braquage / Paris : Program for Papay Gyro Nights 2015 Founded in 2000, Braquage organizes screenings, workshops and meetings in relationship with experimental cinema. The association has conceived around 400 programs throughout the years, blending “historical” and contemporary films. Our programs are mainly focused on a theme and can bring together various cinematographical pratices (scientifical films, animation, primitive films, etc.). Our activity branches out through France and abroad (Europe, USA, Brazil…), in independent locations as well as in institutions or festivals. Braquage also organizes pedagogical activities. Programmation : Sébastien Ronceray |
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| Fragments d’un voyage au Laos by Philippe Cote 2006, 7’, 16mm, mute, color Ordinary scenes : a market in South Laos… Arrangment of instantaneous images shot in Super-8mm, enhanced to 16mm. . |
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| Les Sports d'hiver by Vincent Deville 2005, 4’, S8 > video, mute, color Collected from a family film reel (winter time, snow, times shared between friends) : sun beams / a nocturnal combustion. |
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| Au Bord by Sébastien Ronceray 2013, 3’, S8 > vidéo, sound, color A landscape of the seaside topographied by means of lively movements finds itself recomposed by means of impacts of light and making close-up emerged differently colors and rhythms of this territory. |
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| Eclipse by Baharé Khadjé-Nouri 1999, 15', 16mm, optical, color Total eclipse filmed the 11th of August 1999 in Etretat, when, after an immutable run, slowly, inexorably, the moon seduces the sun and seizes it. This film emerged from the desire to seize, image after image, this magical embrace, the beauty of this astral dance. |
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| Fin d'été by Vincent Deville 2002, 7', S8 > video, sound, color This movie shooted spontaneously during day at the edge of the Ocean, on the Ile de Noirmoutier, in September. Sequences are not determined in advance : they follow on natural phenomena that the movie amplifies them. |
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| Indécryptées, part 2 by Sébastien Ronceray 2009, 8’, 16mm, mute, B&W This found-footage film was conceived by retrieving matter. The images, taken off from the magnetic band on which was recorded La Ligne Général/L’ancien et le nouveau by Eisenstein, become indistinguishable : black and white spots compose the new landscape of the film. |
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| Chrominances by Nicolas Berthelot 2003, 6’, 16mm, sound in CD, color « I confide serenely my small motionless images to the mechanical magic of the cinematograph to reveal the invisible strengths. To begin to make of the cinema, it is to put the eyes in a gearing. » Nicolas Berthelot, in magazine Exploding 10+1 « Etat des yeux », may 2006. |
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| Perforations japonaises by Hervé Pichard & Mayumi Matsuo 2001, 3’, 16mm, sound in CD, color A portrait of woman, encercled as are it the images in the cameos, which shows us the precision of these movements and it in spite of the shivers of the scrolling. |
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| The Action by David Matarasso 2012, 4’, 16mm, mute, color « David Matarasso works, with the patience of a Benedictine, on fragments of scenes of explosions and pursuit races from blockbusters : finally doubtless these kinetic brightness will offer the promises of exponential and psychic forms which they never hold more or less, stuck that they are in patriotic and militaristic narratives. » Emeric de Lastens |
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| High by Othello Vilgard 2001, 6’, 16mm, sound on CD, color Creating an elegy to the vampiric heroine of the original movie (The Addiction by Abel Ferrara), painting her of red, making of her a ghost, Othello Vilgard works the materiality of the image and the ferrarien imagination (with the rap which gives its rhythmic to the editing ultra cut). |
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| Rodéo by Hervé Pichard & Mayumi Matsuo 2002, 3’, 16mm, mute, color With some images punched in a print 35mm of Apocalypse Now by Coppola where young dancers come "to amuse" the US troops in Vietnam by parodying their good old Western, Rodeo consists of circular images, drilling the film as a bullet drills a skin. |
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| Old Western Movies by Sébastien Ronceray 2000, 4’, 16mm, optical, color Through the repetition of a same moment (the confrontation between an american soldier and an indian chief) this film reminds us of the inexorable repetition of history, of gestures, and that cinema Genres always bring us back to the same allegories. Music : tomandandy & the voice of William Burroughs (reading Old Western Movies, Jack Kerouac’s poem) |
| Feux de Bengale by Élodie Jane 2003, 5’, 16mm, sound on CD, color The slow and mastered movements come as a counterpoint in relation to this music which seems to draw its roots from a word of terrifying yet edifying legends. With James Schneider, music : Programme 13 films, 75’ |
| Contacts : Braquage/Aménagements expérimentaux 70 rue des Panoyaux 75020 Paris info@braquage.org |
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| 2015 | |
| INTRODUCTION | |
| PARTICIPANTS | |
| PROGRAMME | |
| SNÆ #4 | |
| TICKETS+SHOP | |
| CONTACT | |
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