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Bryan Konefsky
Featured films
MOVA OBORONY
by Oleksandr Isaienko, 12:13, 2022, Ukraine. An audio-visual play with digital image manipulation that dis- plays body movements amidst a nameless desert, accompanied by a constant rhythmic beat. The relationship of image and audio forms a composition between movements that are independent of one another—in the sense that they do not at- tempt to illustrate each other, but appear simultaneously adjacent, giving rise to both motor and sensory impressions.
THIS OLD WORLD
by Sally Cloninger, 2:11, 2021, US. We begin by remembering. Shot in the Pacific, the Atlantic and in my studio in Olympia, Washington, USA.
DEPTH WISH
by Margarida Albino, 11:43, 2021, Portugal. In an attempt to escape the entire flow to which she is exposed, M goes in search of a place - the sea and its beings - that sets her free from time and can give herself pleasure, but is constantly infected and interrupted by phenomena that affect her and alter her perception.
WHAT WE SHARED
FEMMES
COME ON PILGRIM
by by Kamila Kuc, 69:00, 2021, UK/Abkhazia. Seven inhabitants of a de facto state of Abkhazia on the Black Sea unfurl a web of stories about loss and displacement through the re-imaginings of dreams and memories of the 1992-93 war with Georgia. These reimaginings are interwoven with auto-fictional narration and archival materials that have been processed through an AI technology. The Black Sea permeating the film’s world acts as a metaphor of both an idyllic holiday destination of utopian happiness; as well as a perilous force, a place of conspiracy and death. What We Shared employs emotive soundscape and imagery to produce a sensory reflection on artistic practice as a powerful binding force and an act of resistance to dominant power structures
by Maria Shuvanova, 8:44, 2021, Russian Federation. Blurring literary and cinematic boundaries in a filmic reflection on recognizing female authorship in art, filmmaker Maria Shuvanova draws from an intimate conversation and delivers an improvised monologue composed of coming-of-age art ap- preciation, personal revelations, political realizations, film history, and autotheory fluently coupled visually with creative interventions in film fragments and other works by experimental luminaries Marie Menken, Maya Deren, Germaine Dulac, Marguerite Duras and Chantal Akerman.
by Marcy Saude, 26:45, 2022, UK. Present- ed as a series of visual field recordings captured on expired 16mm film and staged interventions in place, Come On Pilgrim originates in the experience of the filmmaker living in a flat overlooking the Mayflower steps in Plymouth (UK). This location provided a jumping-off point to interrogate histories of settler-colonialism, identity, and mythos in the surrounding landscape, from the viewpoint of a recent immigrant. These histories are related in fragmentary fashion by community members in a collage of voices, contrasting with monumental narratives set in stone.