Portraits of Amaarae backstage at the Filmore after performing for her “Fountain Baby” tour im Silver Spring, MD.

Photography by Ayedatsmanny

Shot on Fuji Superia 400

March 2024

Developed and Scanned by 1MILLENNIA

an der rechtschule // köln altstadt

there is also a grille behind the mirrors.

camera: canon a-1 with canon fd 28mm

film: agfa apx 100

dev&scan: meinfilmlab

Comenzando la experiencia KINOMADA Panamá ‘23 ❤️

ANALOGUE RESILIENCE: FILM LABS GATHERING May 25-30 2023 in Toronto

We are on the road! Iris Film Collective members Alex MacKenzie, Amanda Thomson, Lindsay McIntyre and Zoe Kirk-Gushowaty are attending the Film Labs Gathering, organized by LIFT this year in Toronto, an every-few years meetup of analogue film labs from across the globe designed to create spaces and situations for artist-run labs, collectives, and filmmakers to share with and learn from each other through collaboration and conversation.

The gathering is centered around the theme Analogue Resilience. Analogue, to invoke the material qualities of the film medium, as well as an embodied way of working. Resilience, in reference to the continued vitality of this form of filmmaking; and to the community of people whom filmmaking survives through, who continue this practice in contexts and locations in which they encounter resistance. If you would like to learn more about this network of labs, check out filmlabs.org

In the beginning there was noise – thus writes Rosa Menkman in her influential Glitch Studies Manifesto (2011), a work that laid the foundations for the critical exploration of art works that incorporate noise & error as a means to examine and interrupt the normative function of the image and the media itself.These works do not only present pleasurable aesthetic objects (because, yes, dirty glitch can be indeed very pretty) – they also act as a magnifying glass drawing attention to the material basis of the technology used to reproduce moving images, whether it be celluloid, analogue video or digital apparatus.Using various means to distort the recognizable imagery, they bring us exciting, vibrant & noisy alternative visions that radically challenge the dominating clean, sterile imagery of contemporary digital cinema. As such, they pose fundamental questions regarding the political nature of technology, image and the reality itself.The selection divided in two blocks will showcase 16 eye- & mind-bending contemporary audiovisual works that offer a journey through a myriad of creative & critical uses of glitch followed by the Q&A discussion with the artists.PROGRAM 09.10.2023.Introspective landscapes & limits of memory in the post-internet wildernessDuration: 50′Death Orgone Absorption fœtale – Pulsion panspermique (CA, 2023,6′)Sabato Visconti – Origin Story (Best Price USA), v01 (US, 2023, 2′)Sarah Lasley – Welcome to the Enclave (US, 2023, 12′)Autojektor – robyn (2021, UK, 4′)YOVOZOL – Purplenoia (Parts 1 & 2) (NL, 2023, 10′)le désert mauve (Charline Dally + Gabrielle HB) – dickinsonia. les archives sensibles (CA, FR, 11′)Niloufar Baniasadi, Farbod Hamedi – Flower of Life (Fractal Geometry of the Carpet) (IR, 2023, 2′)Artiom Constantinov – You Never Happened, You Never Existed (IT, 2023, 4′)PROGRAM 10.10.2023.Hacking, playing & (de)constructing (new) realitiesDuration: 50′André Oliveira Cebola – ultraCritical() (BR, 2023, 1′)Chris Coleman with Music by George Cicci – Threaded Tracing (US, 2023, 7′)Josh Brown – First Wave (IE, 2023, 3′)Gino Battiston – Beware Spamart (AR, 2023, 2′)Theo Rosemffet and Rocco.FX – Descontrol (ES, 2023, 6′)aitso + ex_mortal – release decay (CA, US, 2023, 2′)Jan Swinburne – CRACKERS a brief history of code (CA, 2020, 4’20)Toma Ștefănescu – Entropy (RO, 2022, 25′)Curated by:EJLA KOVAČEVIĆA freelance film critic, curator and independent/experimental cinema researcher. She’s a member of the curatorial team at the International Experimental Film and Video Festival 25 FPS and a selection committee member at Belgrade-based International Analog Film Festival KINOSKOP. Since 2011 she’s been active in the film labs community dedicated to the promotion and preservation of analog film practices. In Zagreb-based filmlab Klubvizija she organized numerous workshops, screenings and held lectures on experimental and photochemical cinema. As an Erasmus scholar she spent a semester working in filmmakers’ cooperative LIGHT CONE in Paris. She earned her MA in French Language at the Sorbonne Nouvelle University and MA in Comparative Literature at the University of Zagreb

GlassJar Lab’s FilmLab+ | Over 600 Film Emulations

Glitch cinema: 2023-10-09 MON & 2023-10-10 TUE

In the beginning there was noise – thus writes Rosa Menkman in her influential Glitch Studies Manifesto (2011), a work that laid the foundations for the critical exploration of art works that incorporate noise & error as a means to examine and interrupt the normative function of the image and the media itself.

These works do not only present pleasurable aesthetic objects (because, yes, dirty glitch can be indeed very pretty) – they also act as a magnifying glass drawing attention to the material basis of the technology used to reproduce moving images, whether it be celluloid, analogue video or digital apparatus.

Using various means to distort the recognizable imagery, they bring us exciting, vibrant & noisy alternative visions that radically challenge the dominating clean, sterile imagery of contemporary digital cinema. As such, they pose fundamental questions regarding the political nature of technology, image and the reality itself.

The selection divided in two blocks will showcase 16 eye- & mind-bending contemporary audiovisual works that offer a journey through a myriad of creative & critical uses of glitch followed by the Q&A discussion with the artists.

PROGRAM 09.10.2023.

Introspective landscapes & limits of memory in the post-internet wildernessDuration: 50′

Death Orgone Absorption fœtale – Pulsion panspermique (CA, 2023,6′)

Sabato Visconti – Origin Story (Best Price USA), v01 (US, 2023, 2′)

Sarah Lasley – Welcome to the Enclave (US, 2023, 12′)

Autojektor – robyn (2021, UK, 4′)

YOVOZOL – Purplenoia (Parts 1 & 2) (NL, 2023, 10′)

le désert mauve (Charline Dally + Gabrielle HB) – dickinsonia. les archives sensibles (CA, FR, 11′)

Niloufar Baniasadi, Farbod Hamedi – Flower of Life (Fractal Geometry of the Carpet) (IR, 2023, 2′)

Artiom Constantinov – You Never Happened, You Never Existed (IT, 2023, 4′)

PROGRAM 10.10.2023.

Hacking, playing & (de)constructing (new) realities Duration: 50′

André Oliveira Cebola – ultraCritical() (BR, 2023, 1′)

Chris Coleman with Music by George Cicci – Threaded Tracing (US, 2023, 7′)

Josh Brown – First Wave (IE, 2023, 3′)

Gino Battiston – Beware Spamart (AR, 2023, 2′)

Theo Rosemffet and Rocco.FX – Descontrol (ES, 2023, 6′)

aitso + ex_mortal – release decay (CA, US, 2023, 2′)

Jan Swinburne – CRACKERS a brief history of code (CA, 2020, 4’20)

Toma Ștefănescu – Entropy (RO, 2022, 25′)

Curated by:

EJLA KOVAČEVIĆ

A freelance film critic, curator and independent/experimental cinema researcher. She’s a member of the curatorial team at the International Experimental Film and Video Festival 25 FPS and a selection committee member at Belgrade-based International Analog Film Festival KINOSKOP. Since 2011 she’s been active in the film labs community dedicated to the promotion and preservation of analog film practices. In Zagreb-based filmlab Klubvizija she organized numerous workshops, screenings and held lectures on experimental and photochemical cinema. As an Erasmus scholar she spent a semester working in filmmakers’ cooperative LIGHT CONE in Paris. She earned her MA in French Language at the Sorbonne Nouvelle University and MA in Comparative Literature at the University of Zagreb

Elias - I give you the best from Daniel Eskils on Vimeo.

Actor (Kid): Marko Ohlsson Tucakovic Actor (Father): Michael Göransson

Director: Daniel Eskils Producer: Julia Behm Director of Photography: Jake Hunter @xomgmt Casting: Andrea Lennartsson Styling: Pamela Nabakele Set Designer: Matilda Beckman Editor: Georg Bungard @the.talent.group 1st Ac: Eric Lindqvist 2nd Ac: Hedda Paljak Color: Max Strömberg @swiss_color Filmlab & Scan: Nina Boriri @focusfilmlab Production co: Tarot Pictures & Aspekt Mgmt: WifeSthlm Label: Universal

FilmLab 3 Lets Your Camera Digitize Film Like a Pro-Grade Film Scanner

Somewhere in NYC

Circa September 2023

Photography by Ayedatsmanny

Developed & Scanned by 1MILLENNIA

stenzelberg // siebengebirge

history and nature experience are combined in many places in the siebengebirge, including the stenzelberg. the former quarry where latite was mined is now a beautiful nature reserve. from the 11th century until 1931, it supplied many of the surrounding historical buildings with material. these include the bonn minster, the heisterbach monastery and many other churches in the surrounding villages.

film: agfa apx 100

dev&scan: mein filmlab

Dumpster Fire

Moving Image Evaluation

Samuel Mitchell

BA 3

Evaluations

Upon receiving the Moving Image brief for my Photo Imaging class, I was initially skeptical and displeased as I have grasped a good understanding or passion for moving image even after completing this previously in HND. I continued with research in a less traditional way. Firstly  began looking at painting to see if that would inspire an idea from Edgar Degas In a Cafe,  Edward Hoppers Nighthawks to Kevin McKrells talking treason. Yet this had no impact on my blank mind for this brief, a ongoing trend with the beginning of my work if I am not genuinely invested or excited I do believe I cannot create a quality series of work.

To great surprise and timing I became aware of the Glasgow FilmLab in collaboration with The French Film Festival UK there were going to be screenings of some of the best films French creative minds have produced from Eva to Belle De Jour. The Film Festival took place between the 18th of October and the 14th of December 2022 hosted by The Alchemy Experiment in Glasgow’s West End. This ignited a passion in me mostly for the amazing composition of the shots and unruly but captivating change between frames. I was stunned by  the first film shown Magnetic Beats Directed by Vincent Maël Cardona, the truly human nature of the film, pain and love, a human world but one I have never know and is los to time but so close to those not born then, however, I had such admiration and respect for this movie.

The next film scheduled was Eva directed by David Losey, followed by ‘ The Enigma of Losey’ a talk by Martina Saric PhD, from the opening scenes I knew I wished to capture the opus of ambiguous characters with mysterious intent that Losey perfectly capture this through his use of haptic, visual and auditory elements and how they embody the sharpness of the films composition.

I began to visualise my plan and slowly it came to fruition, combining the work of Losey 

With my own family experience of feeling  the Soviet occupation of Lithuania and also my personal experience of going to Lithuanian, visiting the Museum of Occupations and Freedom Fights, in the former KGB headquarters across from the Lukiškės square where the crimes of the Soviet regime were planned and executed for fifty years  and is informally referred to as the KGB museum. Combining elements of everyday life and the scourge of was, my main inspiration comes from the bullet holes marking the basement wall where prisoners were executed at pointy blank rage and just before the entrance to this hell on earth is a glass case containing valuables and ordinary everyday items taken from prisoners before they met there fate.

I had chosen the Grosvenor cinema which has recently been refurbished in an art deco style and had a model who would be dressed in a vintage Burberry jacket and underneath a suit evoking the style I have seen in old family photographs from Lithuania. However, the model would also be wearing a GP-7 gas mask, filming his entrance, where he would then sit in a preselected seat and take the mask off then preceding to smoke a cigarette all at while never revealing his identity to the viewer and the cut to black a sound of a ringing gunshot or piecing scream of a women the, showing ‘Pelenai’ on the cinema screen, connecting this with my brief for cameraless in creative processes and how the both connect to my ties to Lithuania and the deaths of those I never knew but cherish dearly. unfortunately due to unavailability from models and assistants on the first scheduled shoot and then  medical emergency at the venue which meant the had to close, l was back at the drawing board again.

Therefore, I decided as have done many times before to back to basics strip away that which is unnecessary and focus, my mind went exactly to the first film shown at the film festival ‘Magnetic Beats’ especially a scene when Philippe is called away to Berlin for his military service and his forbidden love for Marianne is reignited. I had the use of the gas mask and a German military coat to to yet again evoke the sense of normality destroyed by war when a message included in the short, leaving the viewer a sense of peace is swiftly interrupted. Thankfully to further pay homage to this great movie the message which I wrote was transcribed and recorded in French. 

For lighting, I was greatly inspired by The French dispatch directed by Wes Anderson especially his use of black and white in scenes and how this enhance the actors performance and overall suspense and pleasure for the viewer, especially the scene between Roebuck Wright played by Jeffrey Wright and Albert 'the Abacus’ played by Willem Dafoe in the cell dubbed the chicken coop no.1. I also took it upon my own stubborn self against advice from my assistant to shoot in portrait to evoke a sense of being trapped or restricted both physically and mentally, which I believe I could’ve enhanced this further if during then last scene showing the face there was a slow zoom in towards the head.

I found the use of the Adobe premiere pro software very difficult and particularly to use In capturing what I had initially visualised even with the aid of YouTube tutorials and aid from fellow student, I then opted to edit this in iMovie which I have used before in HND and I am well versed in, with straightforward easy controls and the aid of free accessible sounds and text and backgrounds, I believe I was able to create a more evocative final edit for submission than choosing to continue with Adobe premiere pro.

To conclude, I have completed the brief up to acceptable standards firstly laid out with, efficient research both in the role of both the viewer and artist, I have however failed in my grasp and understanding of Adobe premiere pro and will take further steps to remedy this as I wish to be at a proficient standard with this software for reasons both educational and professional. In the overall experience of the brief I would say it was a success in failure, having my initial idea not materialise, due to on the one hand extreme reasons outwith my control which fundamentally put time against me and perhaps overextending myself in terms of complexity and precision of my first idea. Yet again bringing it back to a more simplistic and real feel to my work, I believe I have created a moving image that will truly connect with and entice the viewer. I do plan on completing my initial idea this coming year granting it more time and preparation from myself and assistance to create a greater version of it than I initially imagined.

✨ HAPPY NEWS FOR THE DAY ✨ Our Japan-Philippines-Malaysia co-production Diamonds in the Sand (previously titled Kodokushi) by Janus Victoria is one of the 20 projects selected for Tokyo Gap Financing Market this year!!! So excited to shoot in 2023! Produced by Dan Villegas, Shozo Ichiyama, Masumi Soga and Lorna Tee 💪🏽💪🏽💪🏽 ✨ What a long, fruitful journey!!! Let’s do thizzzz ✨ Best Talent Project, Talents Tokyo Audience Award, Torino FilmLab 2019 FDCP Project Market CMB Film Services Equipment Grant Central Digital Lab Post Production Grant Quantum Films Post Production Grant Decision Maker's Award from Wildsound Studios DCP Mastering from Edge Manila 2021 Agency for Cultural Affairs, Government of Japan Recipient of the International Joint Production Movie Support 2021 ICOF Grant Awardee, Film Development Council of the Philippines https://www.instagram.com/p/CikMu-GJ0Uj/?igshid=NGJjMDIxMWI=

This Is One Upgrade You Can Avoid for Now. FilmLab 2 iOS App Review

I can't preview negatives easily. This update has broken the app's core functionality

If an app version is incremented by a whole number, this usually indicates that many new features have been added. In some cases, it could mean an almost complete overhaul of the app itself, both visually and functionally. Rarely have I seen an app undergoing such an upgrade that negates the core purpose of the app itself. Judging by the recent reviews I’ve seen on the App Store, I’m not the only…

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