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2016 EDITION


10YEARS OLDER

TEN YEARS OLDER programme 1 / PRELUDE

Beginning with the creation of the world according to Franco Piavoli and ending with the very same miracle as seen by Thierry Knauff, the programme focusing on time in film celebrates time in its purest form in a circular way, with the Earth setting the beat and man being an astounded, speechless witness.

Il pianeta azzurro, Franco Piavoli (1982, 88 min)
 

TEN YEARS OLDER programme 2 / THE AGES OF MAN

Six short films that make a single, great movie that tells the story of man’s growing up in chronological order, from birth to old age. The early babbling of childhood in the first films, followed by the loss of innocence, the coming of age, the remembrance of the dreams of youth and the coming of old age. Six films in a sort of relay race, made by six different filmmakers but focusing on a single theme: man and time.

Window Water Baby Moving, Stan Brakhage (1959, 12 min)

Nueva vida, Kiro Russo (2015, 15 min)

Ten Minutes Older, Herz Frank (1978, 10 min)

Seven Women of Different Ages, Krzysztof Kieslowski (1978, 15 min)

10, Marta Jurkiewicz (2015, 30 min)

Invisible, Zofia Pregowska (2014, 22 min)
 

TEN YEARS OLDER programme 3 / MODERN TIMES

Nine extremely short films that play with time using the most modern film devices: accelerated motion, time lapse, double exposure, overlapping, repetition, ellipsis, rewind, flashback… Effects to trap the real present and create the time of film. A train journey with nine stations: cadence, intermission, refrain, emphasis, rhythm, delay, brevity, asynchronicity, intermittence. 

Like a Passing Train 2, Kohei Ando (1978, 7 min)

Un relatif horaire, Yo Ota (1980, 2 min)

Hus, Inger Lise Hansen (1998, 7 min 30 sec)

Ghosts Before Breakfast, Hans Richter (1927-28, 7 min)

Piccolo film decomposto, Paolo Gioli (1986, 18 min)

Ritual in Transfigured Time, Maya Deren (1946, 16 min)

Two Times in One Space, Ivan Ladislav Galeta (1976-84, 12 min)

Pièce touchée, Martin Arnold (1989, 15 min)

Luukkaankangas – Updated, Revisited, Dariusz Krzeczek (2004, 8 min)
 

TEN YEARS OLDER programme 4 / TIME WITHOUT US

Three-of-a-kind aces: Lemaître, Loznitsa and Frampton, and their weird film excursions. A triple visit to the abyss there the hand of man over time disappears and time flows on its own. The film by Lemaître is supratemporal, made of films that only exist in the form of ideas. The second film, by Loznitsa, takes us to the no-time of never-ending wait. Finally, the film by Frampton is laden with nostalgia, with fleeting memories of a past that lasts for as long as it takes images to waste away.

Six films infinitésimaux et supertemporels, Maurice Lemaître (1967-75, 9 min 30 sec)

The Halt, Sergei Loznitsa (2000, 25 min)

(Nostalgia), Hollis Frampton (1971, 36 min)
 

TEN YEARS OLDER programme 5 / DISMANTLING THE CLOCK

About a dozen short films that make 60 minutes together, like the twelve hours marked by the hands of a clock. Curiously enough, they begin and end in the same way: with a blank screen. This session is like a stopwatch that adds minutes as the end gets nearer. From zero to one second of eternity; from ten seconds to the 60 that make one minute; the question is always the same: how long does a film need to tell us what it wants to tell us – fame, purity, a collection of paintings, art and danger, art and brevity. The idea is to dismantle time, down to a minimum: a second, a frame, zero. Like a curious child disassembling the wristwatch they have been given, to be left with the puzzling sensation that they are unable to put it back together.

Uts cero, Javier Aguirre (1970, 10 min)

Une seconde d’éternité, Marcel Broodthaers (1970, 1 sec)

Ten Second Film, Bruce Conner (1970, 10 sec)

60 Seconds, Christoph Girardet (2002, 1 min)

Une minute vingt-neuf de peinture, Denis Rousseau-Kaplan (1984, 1 min 40 sec)

Deux minutes cinquante secondes, Joël Ducorroy (1981, 2 min 50 sec)

Cinq minutes de cinéma pur, Henri Chomette (1925, 5 min 30 sec)

57,600 Seconds of Invisible Night and Light, Flatform (2009, 5 min 25 sec)

24 Frames Per Second, Takahiko Iimura (1975-78/2007, black and white, sound, 10 min 35 sec)

Restoring Appearance to Order in 12 Min., Coleen Fitzgibbon (1974)
 

TEN YEARS OLDER programme 6 / PAST PERFECT

Two exercises in found footage. A past made of old images and told in a new language. On the one hand, Morocco in its historical archives, revisited in the form of verse about memory. On the other, damaged film footage that has been rescued to showcase the damage. A session in black and white in which the past is far from perfect.

Mémoire 14, Ahmed Bouanani (1971, 24 min)

Decasia, Bill Morrison (2002, 67 min)
 

TEN YEARS OLDER programme 7 / PRESENT CONTINUOUS

The joy of an instant: three films experiencing a voluntary extension of time from the present moment, in the forms of a fire that is never extinguished, a film that never ends and a city that experiences moments of suspended eternity. How to extend the present so that it is always present, that is, a present continuous, without an option for a past or an eye on the future.

The Smoke, Vladimir Perovic (2006, 26 min)

Sur la plage de Belfast, Henri-François Imbert (1996, 40 min)

Time Present, Alfred Guzzetti and Kurt Stallmann (2013, 17 min)
 

TEN YEARS OLDER programme 8 / SIMPLE FUTURE

Three films in which time moves in circles. There is no end because we are always back at the beginning, in a sort of eternal return. The future is as simple as that: a bridge connecting the here and now with the hereafter. In the first film, a stillborn baby. In the third one, a baby born out of death. In between, the denial of the inevitable in the form of taxidermy. These three films tiptoe their way around the morgue, without stopping, breathing life into it. Warning: If you are not strong enough to look death in the eye, you might very well spare yourself this session.

Mort à Vignole, Olivier Smolders (1998, 26 min)

Arrangement of Skin, Karsten Krause (2016, 24 min)

Ulterior, Sabrina Muhate, (2014, 9 min)
 

TEN YEARS OLDER programme 9 / CODA

Two filmmakers for a black-and-white end of time, with brevity and the ephemeral as banners. Guy Sherwin’s 3-minute films as an appetiser before Thierry Knauff’s ode to fleeting life. Two directors for whom the camera is like a clock in its final countdown.

Short Film Series, Guy Sherwin (1975/2014)

Tree & Cloud (1977-78, 1 min 52 sec)

Wind & Water (1980, 2 min 44 sec)

Light Leaves (1978, 2 min 44 sec)

Clock & Train (1978, 2 min 50 sec)

Metronome (1978, 3 min)

Tap (1978, 2 min 53 sec)

Breathing (1978, 2 min 50 sec)

Mei (2010, 3 min)

Piano (2013, 2 min 40 sec)

Candle & Clock (1978, 3 min)

Vita Brevis, Thierry Knauff (2015, 40 min)
 

TEN YEARS OLDER programme 10 / EPILOGUE: A Tribute to Pío Caro Baroja

Pío Caro Baroja, la entrevista, Oskar Alegria (2005, 18 min) 

Navarra, las cuatro estaciones: Otoño, Pío Caro Baroja (1971, 27 min)

Navarra, las cuatro estaciones: Invierno, Pío Caro Baroja (1971, 39 min)

PRELUDE, OPENING FILM

THE AGES OF MAN

MODERN TIMES

TIME WITHOUT US

DISMANTLING THE CLOCK

PAST PERFECT

PRESENT CONTINUOUS

SIMPLE FUTURE

CODA, CLOSING FILMS

PROMOTED BY
Gobierno de Navarra
ORGANIZED BY
NICDO
WITH THE AID OF
Con la financiación del Gobierno de España. Instituto de la Cinematografía y las Artes AudiovisualesAcción Cultural Española
WITH THE SUPPORT OF
Ayuntamiento de PamplonaGoethe InstitutCentro de Arte Contemporáneo de HuarteTeatro GayarreLa Fábrica
MEMBER OF
PantallaIberofestLa Mesta
PARTNERS
Filmoteca de NavarraPlanetario de PamplonaMuseo OteizaMuseo Universidad de NavarraFilmoteca Española
CinetecaFilmoteca CatalunyaInstitut FrançaisHotel Tres ReyesHotel Maisonave
MEDIA PARTNER
Radio 3

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