presents

YAMAZAKI MIKIO
Drifting VM (1990, 16mm, Colour, Sound, 9mins)

I made this film in the same way that I would take a girl's skirt off and remove their underwear. I took off the skirt and the underwear but found nothing there on which to base our existence. Beyond the images there was only light and darkness. That's why I've been drifting through a dream of life (Vida) and death (Muerte) hoping to grasp hold of the outline ahead.

TACHIBANA KAORU Flesh (1993, 8mm, Colour, Sound, 6mins)

A portrait of a strong man.

MITSUKI AI
Northern Light (1998, 8mm, Colour, Silent, 15mins)

Experiments with daylight.

ONISHI KENJI
The Lingering Images of Summer (1993, 8mm, Colour, Sound, 10mins)

A diary film I shot at the end of one summer. Beautiful colours emerge out of poetic images.

Interval

CRAIG LINDLEY (Australia) RECENT SUPER 8 FILMS

Black Sun (1997, 9m37s)

Hand processed black and white as negative.

A journey through planes of consciousness.

Mysterium (1997, 10m35s) Hand processed black and white as negative.

A journey through inverted memories of reflected light.

The Demolition Men (1997, Sound, 6m53s) Rephotographed from 16mm.

Portraits of broken men. A colour film consisting of cyclic images of destitute men, city buildings, an abandoned stock feed factory, its destruction, and urban graffitti.

Submission (1998, 3m38s) Hand processed black and white as negative.

A nude study involving at least 12 forms of submission in its making and watching. The film emphasises the forms of the body of a woman, and the sadness in the gaze following the protracted game that was the negotiation with the subject.

2114 (1998, Colour, 2m36s)

The film made as a portrait of my local area, having the postcode in the title. This was part of a project by the Melbourne Super 8 Film Group, where a number of filmmakers made films about their home suburbs. The film uses the structural device of systematically increasing and then decreasing the shot length (from single frames), which also functions to convey the changing atmosphere in different parts of the location.

Nature Morte (1998, 18mins) Hand processed black and white as negative.

An industrial landscape in the space between purpose and destruction.

Emanance [1] (1998, 12m6s) Colour tinted, hand processed.

Transformed sunlight reflected at a phase transition.

Saturday 27/3/99. Doors open 6.30pm. Films start at 7pm. Donations on the door