E-TICKET, Dir. Simon Liu
CompetitionNew ShortsInternational

INTERNATIONAL COMPETITION: Remake/Remodel

This event has ended.

17:00 Sun 12 Jan 2020

ICA Cinema 1

PRESENTED IN PARTNERSHIP WITH frieze

Veering between found footage, home movies, YouTube snippets and music video aesthetics, this programme unpacks the role of the archive and cultural artefact in the representation of myth and memory.

Su Hui-Yu’s startling recreation of an orgiastic Taiwanese blood-letting, originally censored during the Martial Law era, aims to shock whilst Bárbara Wagner and Benjamin de Burca’s hybrid documentary finds a cinema setting following it’s success at the Venice Biennale.

Reflecting on concurrent shifts in politics and culture across the globe, a Karl Marx influenced performance remix from infamous anarchist art collective NEOZOON whilst documentarian Catarina Mourão probes the myth of the Portuguese ‘whistle man’. Programmed by Tom Grimshaw. 90’


All of the films in this programme qualify for LSFF’s Best International Short Film Award as well as, dependent on genre, our Best Documentary and Best Animation Awards.

This programme contains flashing images, nudity and scenes of violence.

Remake/Remodel also screens at ICA, 3pm, Friday 17th January.

ICA

The Mall, St James's
SW1Y 5AH
020 7930 3647
Full £13-4 / Concessions £11-2 / Blue Members £7-8

Access

Please find all access information here, or drop a line to Helen MacKenzie at access@shortfilms.org.uk for more information or special requests.

  • E-TICKET

    Simon Liu 13 mins (US, 2018)

    A film sixteen thousand splices in the making. E-Ticket is a frantic (re)cataloguing of a personal archive and an opportunity for rebirth to forgotten images. 35mm photographs and moving pictures are obsessively cut apart, reshuffled then tape spliced together frame by frame in evolving patterns.
  • FRAGMANTS

    Neozoon 6 mins (DE, 2019)

    Karl Marx calls commodity fetish in his main work Capital the quasi-religious material relationship to products that people produce for each other in division of labour or social work. The people in FraMANnts worship their consumer goods like religious cult objects. The religion venerated here is that of capitalism, which reveals itself to be superficial and meaningless.
  • HORIZÕN

    Anya Tsyrlina / Sid Iandovka 8 mins (CH, 2019)

    A random seventies newsreel from the artists’ hometown in Soviet Siberia forms the substratum for a relentless exploration of representational and narrative strategies: without ever collapsing into a ‘story’ or abstraction, the film recants the relationship between analogue and digital, surface and reference, sense and experience, past and present.
  • THE HISSING OF SUMMER SANDS

    Catarina Mourão 16 mins (PT, 2019)

    “The whistle man” was a typical character of the Portuguese sea-side. His story has so many versions that he has become a myth, his whistle announced his arrival and attracted boys and girls or made them run away. Last year I found 30 seconds of footage of this man which until then was just a memory. Is he more real now?
  • ЮНАК [JUˈNɅK]

    Georgi Stamenov 9 mins (BG, 2019)

    ЮНАК [juˈnʌk] is a word often used in the Bulgarian folklore to describe a brave and intrepid youth. This work depicts a series of “unnecessary memories” from the director’s childhood. Reminiscences, not related to a significant event, unnecessarily stored in his mind. All shots in the film are abstract depictions of the director’s personal “unnecessary memories”.
  • THE GLAMOROUS BOYS OF TANG

    Su Hui-Yu 15 mins (TW, 2018)

    In artist Su Hui-yu’s signature style, a moody slow-motion pan captures a wild, glitter-scattered, blood-splattered orgy during the Tang dynasty. The film is an invocation of scenes from 1985 Taiwanese cult film Tang Chao Chi Li. Presented without narrative context, an orgiastic murder scene plays out like an unsettling nightmare.
  • SWINGUERRA

    Bárbara Wagner / Benjamin de Burca 23 mins (BR, 2019)

    In the sports court of a public school, a group of dancers rehearse highly disciplined routines under the watchful eye of a choreographer. Tensions haunt personal desires as they are observed by rival troupes. Within the spirit of musicals and music videos, Swinguerra sets issues of gender, masculinity, race and power as backdrop for the bodies on screen and the traditions they share and shape.