Snow Job: The media hysteria of AIDS deconstructs the representation of AIDS in the popular media where distortion and misrepresentation amount to a “snow job” promoting increased homophobia, sexual discrimination and repression of gays.
FEAR OF BLUSHING bursts forth with irrepressible hand-painted color, corroded emulsion and a menacing soundscape of looped voices, distorted instrumentals, samples & rhythm. Fleeting visions and voices erupt out of the ominous abstraction in unusual juxtapositions, suggesting a cinematic free-association marked by anxiety, pleasure and shame. Best appreciated in the immediate; the 7200 painted frames fly by at an average of 12 per second.
Walk down a lane continuously. The film tries to destroy time by the cyclical reworking of a short period of time. Gradually the image becomes less discernible and the flashing positive and negative images force the viewer to stare rather than looking at the film. As the film progresses the viewer becomes trapped in a short period of time.
In voice-over Eric M Nilsson discusses the choices people involved in the creation of films make, their attempts to create meaning and what the future may hold for the medium and its roll in society. The filmmaker juxtaposes a range of still and moving images, often in humorous ways, in this self-reflecting short film: “Making these images adds up to a total cost of 274 SEK per second, this regardless of quality”. The film was made as a part of the project ‘Sverige 80’, initiated by the Swedish Film Institute, aimed at supporting the creation of high-quality short films.
Jack Smith’s third feature film was originally titled “The Kidnapping of Wendell Willkie by the Love Bandit,” in reaction to the 1968 Presidential Campaign. Willkie was a liberal Republican who ran against FDR in the 1940’s. It mixes B&W footage of Smith’s creatures with old campaign footage of Willkie. The climax of the work appears to be the “auctioning” of the presidential candidate at the convention.
Gratinirani mozak Pupilije Ferkeverk is a short experiment as weird and extravagant as its incomprehensible title. Brains, made in collaboration with an avant-garde theatre troupe by the name of Pupilija Ferkeverk, can be viewed as a recording of a carefully constructed performance, a spontaneous ritual or simply a bunch of longhaired, sea-hugging naturists tripping, as a passionate plea in favour of individuality and freedom and an angry cry against any kind of authority.
Created from footage shot in Yuppie-era Boston and San Francisco, Living in the World showcases Joe Gibbons at his prime. The story is told through a series of “confessions” made by the narrator to his camera, as he decides to quit his position at a health-care company and continue his life outside the strictures of a 9-5 gig. “There’s something wrong with the world when you have to work and you don’t want to,” Joe declares. But then he finds that drifting jobless through the land of the employed creates its own peculiar anxieties.
Riko, a suicide-obsessed young woman, meets up with K, an angry young man whose dream is to blow out all of existence. Together, they join up with three other would-be terrorists on an errand to deliver a “cake” to an unspecified location somewhere in Tokyo.