Short Films – MAKE ME GLITCH – HPFF19

MAKE ME GLITCH 58′

Rather than patinated and prissy porn, we prefer the queer failure of digital error, the ever-expanding and ever-wrecked xenobody, the self-generated distortion, the glitched orgasm and the infinite horizon of possibilities which it envisages. The only binarism we like is the digital one.

AMAD by Johanna Invrea (Italy, 2017, 1’)
DICKHOLE by Nathan Hill (USA, 2018, 6’)
THE DREAM OF THE GIRL DIVER by Samuel Bester (France, 2018, 13’)
I FALL IN LOVE WITH EVERYONE by Nora Smith (Switzerland, 2018, 9’)
WE STAY by Raphael Duracell (France, 2018, 12)
SOMA: DIGITAL HUMANS by João Pedro Fonseca (Portugal, 2018, 6’)
THIS SEASON IS THE LOVE YOU KNOW by TE-R (Louise Linsenbolz + Thomas Wagensomerer) (Austria, 2019, 9’)
GLUE BABBLIN by Johanna Invrea (Italy, 2017, 2’)

SCREENINGS
Friday 26/04/2019 – 19:00
Sunday 28/04/2019 – 17:00 – replica


PREVIEW

AMAD by Johanna Invrea (Italy, 2017, 1’)

 

DICKHOLE by Nathan Hill (USA, 2018, 6’)

A meditation on gay porn aesthetics and the solitary experience of the home video viewer. Filmed with Newvicon tube, Hi8 and CCTV cameras and an array of video mixers and processors.

 

THE DREAM OF THE GIRL DIVER by Samuel Bester (France, 2018, 13’)

Film inspired by the erotic woodprint of Hokusai relating a tragic tale where a submarine dragon king is protected by undertaking octopuses seduced by a girl diver. This video uses data moshing to mix bodies and textures in a sound arabesque saturated with colors.

 

I FALL IN LOVE WITH EVERYONE by Nora Smith (Switzerland, 2018, 9’)

I Fall in Love with Everyone presenta una visione di sessualità esperite come emancipazione dello spazio privato nello spazio pubblico, dove il corpo è fluido e sensibile. Immagini esplicite e irrealistiche si incontrano, usando il contesto pornografico per presentare una diversa espressione del desiderio e dell’auto-oggettificazione. Corpi 3D perfetti vengono diluitidi in quelli reali nel condividere relazioni passionali e rispettose. Infine, vediamo emergere forme organiche, una sessualità fatta di emozioni e fusioni. Questo corto esplora fantasie, e rivendica corpi non-normati e dissidenza sessuale.

 

WE STAY by Raphael Duracell (France, 2018, 12)

A Thousand years after the end of the world, an Artificial Intelligence’s memories float in outer space, reminiscing about a love story she lived with her coder and an anarchist conspiracy to destroy the NSA archives.

 

SOMA: DIGITAL HUMANS by João Pedro Fonseca (Portugal, 2018, 6’)

SOMA: A world where human and digital environment is created for entertainment purposes. We live digital affections and emotions as if they were real. In fact, does the border exist? The simplicity of deleting its track is what separates the digital from the real as opposed to the physical world, which means death. This work is a set of several fragments about the reproduction of virtual consciousness in Man: from the alternate realities on the creation process to the simulation of sexual pleasures. All the elements formulate a narrative that leads the spectator to a timeless universe where the identity is lost on a desperate search of a more substantial/definite sense. In it we confront the digital human conceived by codes and simulations, carrying an emotional density identical to the human itself, with a fear of existing, of being real. Is digital human a mere copy of our image, or, like this piece, the recipe for a real emotion manipulated?

 

THIS SEASON IS THE LOVE YOU KNOW by TE-R (Louise Linsenbolz + Thomas Wagensomerer) (Austria, 2019, 9’)

This surrealistic real-time installation features 9 humanoids forming a virtual sculpture. Every one of these humanoids embodies and pursues a certain characteristic expression in form, texture, mien, sound and movement. Based on their movements (and the intersection of their movements), the sculpture and the soundscape change continuously. Because of its generative nature, the duration of this installation is infinite. In fact, the longer the installation goes on, the more the humanoids separate from each other and thus span an ever growing virtual stage.

 

GLUE BABBLIN by Johanna Invrea (Italy, 2017, 2’)