Underskog

Five radically free and disparate approaches to making film move, with and without a camera.

Free Radicals Len Lye (N.Z. / 1979 / 16mm / 5mins)
White lines, hand engraved on black film, with oscillations on each frame, a small monument which defines the nerve of the cinema as a ritual of movement filled with energy.

Rubber Cement Robert Breer (U.S. /1976/16mm/10mins)
An anarchic collage of invention, Breer uses Rotoscoped family footage together with found objects to create an almost free-form animation bursting with colour and movement. Abounding with allusions to the film making process and references to the history of animation (including a guest appearance by Felix the Cat).

Rotting Artist Ann Course+Paul Clark (U.K. / 2002 / video/ 4mins)
People try it on in the Croxley bunkers, and when the head of the household shoves his bendy cane brush right up the chimney we would do well to run to the other side of the road and watch it appear out the top for the lucky sight of it.

Bouquets 21-30 Rose Lowder (FR / 2001-5 / 16mm / 14mins)
These 10 one minute films are part of the ecological BOUQUETS series, composed in the camera by weaving the characteristics of different environments with the activities there at the time. The filming entails using the film strip as a canvas with the freedom to film frames on any part of the strip in any order, running the film through the camera as many times as needed.

Un Rêve Patrick Bokanowski (FR / 2014 /DCP / 31mins)
A sense of the surreal goes hand in hand with a pervasive quality of central luminous emanation; yet the images also seem to radiate inwards, toward the gravitational pull of subjective interiority. Magnificently scored by Michèle BOKANOWSKI, it is an alchemically metamorphosing dream, refracted in light. A defiant, contra-logical, and ultimately transcendent piece of filmmaking.