To mark the tenth anniversary of Punto de Vista, this year’s themed retrospective, under the name of Ten Years Older will be dedicated to Time, to the relationship and interplay between documentary film and one of its key concepts and raw materials: Time. Paying tribute to the legendary film, Ten Minutes Older, by Herz Frank, an old friend who was present at the festival, this cycle proposes an extensive journey through more than 50 non-fiction works that share the significant presence of time.
Films that revisit places or themes decades after having filmed them for the first time; films that bear in mind the passing of the ages in man and others that reflect on the age of film; documents that go through the four seasons of life in a specific place or films that experiment with the duration of the shot, flashback, repetition, ellipsis and other film weapons to enclose and dominate time.
The film that acts as a prelude to this cycle on time will officially open the 10th edition of Punto de Vista. The Blue Planet by Franco Piavoli (1982) is a tape that tells of a celebratory journey in time in its purest conception, with nature and the landscape in full evolving ecstasy, without dialogue, with the wonderful music of Ennio Morricone as its only respiration. Four seasons compressed into 88 minutes. The film travels through the frozen winter of the Italian countryside, crosses the explosion of spring and goes through autumn and summer as if they were the altars of a temple. In them, the human being, who is also travelling in the different states that time causes: love, childhood, pain, work, admiration. It is a celebration of life on the planet on which we live.
TEN YEARS OLDER PROGRAMMES
Ages of Man
Six short films make up a great, unique film in which the human being grows, developing chronologically from birth to the age of 90. In the first films, we see childhood with a baby’s first gurgling, followed by the loss of innocence through to maturity and finally, a review of dreams and old age. Six films that follow on from each other and in spite of having been made by different filmmakers, they all present the same main character: a person and time.
Window Water Baby Moving by Stan Brakhage (1959, 12 min).
Nueva Vida by Kiro Russo, (2015, 15 min).
Ten Minutes Older by Herz Frank (1978, 10 min).
Seven Women at Different Ages by Krzysztof Kieslowski, (1978, 15 min).
10 by Marta Jurkiewicz, (2015, 30 min).
Invisible by Zofia Pregowska (2014, 22 minutes).
Nine very brief short films that play with time through the most modern cinematographic arts: acceleration, time lapse, double exposures, overlaps, repeats, ellipsis, rewinding and other types of flash backs. These effects seek to deceive the real present and create the film’s own time. A train journey with nine stations: Cadence. Interval. Refrain. Insistence. Rhythm. Imbalance. Fleetingness. Asynchrony. Intermittence.
Like a Passing Train 2 by Kohei ANDO, (1978, 7 min).
Un relatif horaire by Yo Ota, (1980, 2 min).
Hus by Inger Lise Hansen, (1998, 7½ min).
Ghosts Before Breakfast by Hans Richter (1927-28, 7 min).
Piccolo Film Decomposto by Paolo Gioli (1986, 18 min).
Ritual in Transfigured Time by Maya Deren (1946, 16 min).
Two Times in One Space by Ivan Ladislav Galeta (1976-1984, 12 min).
Pièce touchée by Martin Arnold (1989, 15 min).
Luukkaankangas, updated, revisited by Dariusz Krezeczek (2004, 8 min).
Time Without Us
A trio of aces, Lemaitre, Loznitsa and Frampton, with their strange film excursions in which they propose a triple visit to the abysm where man’s hand on time disappears and times moves freely. The first film by Lemaitre is supratemporal and is made up of films that only exist as ideas. The second example with Loznitsa takes us to a non-time of eternal waiting. Finally, the Frampton’s film is full of nostalgia with the fleeting memory of a past that lasts as long as the images take to be consumed.
Six films infinitesimaux et supertemporels by Maurice Lemaitre (from 1967 to 1975, 9 min 30 sec)
The Train stop (L´Attente) by Sergei Loznitsa (2000, 25 min)
(Nostalgia) by Hollis Frampton (1971, 36 min).
Disarming the Clock
A dozen brief pieces add up to the hour-long film, as if they were the twelve hours on a clock. Curiously, they start and finish in the same way: with a blank screen. Visiting this session is like helping a chronometer to increase in minutes as we move towards the end. From nothing to a second of eternity, from 10 seconds to the 60 seconds of a minute, always with the uncertainty of how long a film needs to tell us what it wants to tell us, whether it is fame, purity, a collection of paintings, the dangers of art or its brevity. In reality it is about disarming time to its minimum expression, the second, the frame, or the zero. Like the curious child who dismantles the watch he was once given, only to discover that he does not know how to put it back together.
Uts cero by Javier Aguirre (1970, 10min).
Une seconde d´eternité by Marcel Broodthaers (1970, 1second).
TEN SECOND FILM by Bruce Conner, (1970, 10 seconds).
60 Seconds by Christoph GIRARDET, (1min, 2002).
Une minute vingt-neuf de peinture by Denis ROUSSEAU-KAPLAN (1984, 1´40 min).
Deux minutes cinquante secondes by Joël Ducorroy (1981, 2´50min).
5 minutes de cinema pur by Henri Chomette (1925, 5min 30sec).
57.600 seconds of invisible night and light by Flatform (2009, 5' 25.
24 frames per second by Takahiko IIMURA 1975-78/2007 10min 35sec bn sound.
Restoring the appearance to order in 12 minutes by Coleen FITZGIBBON 1974.