Helga Fanderl composes her scores while shooting (changes of focus, filming speed, foretastes) to shape the morphology of what she portrays and capture the genius loci on each trip. Lowder’s animated networks, however, start with the score and then bring in near and distant colours, which, together with the changes of location, create the music. While Mekas sings his poems and LaPore marks the miles with train noises, Sonbert, with his paratactic routes, word play and frenetic changes of direction, amasses all the blood in your head to the sound of pop songs.

SONG OF AVIGNON. Jonas Mekas. 1998. 16mm. 8’, sonora.
BOUQUETS 11-20. Rose Lowder. 2005-2009. 16mm. 14’.
A DEPRESSION IN THE BAY OF BENGAL. Mark LaPore. 1996. 16mm. 28’. sonora.
VON EINEM SPAZIERGANG FROM A WALK. Helga Fanderl. 1991. Super 8, 3’, silente.
BOLOGNA-SKIZZE. SKETCH OF BOLOGNA. Helga Fanderl.  2001. Super 8, 1’. silent.
ZIEGEN GOATS. Helga Fanderl. 1993. Super 8, 15’’. silente.
TAMBURINE UND TANZ TAMBOURINES AND DANCE. Helga Fanderl.1995. Super 8, 3’. silente.
STADT DER TOTEN NECROPOLIS. Helga Fanderl. 1998. Super 8, 3’. silente.
FISCHERBOOTE. Helga Fanderl.  2015. Super 8, 3’ silente.
LETTER TO D.H. IN PARIS. David Brooks, 1967, 16mm, 4’, sonora.
FRIENDLY WITNESS. Warren Sonbert. 1989, 16mm., 22’ sonora.
TRT: 104 min