by Dietmar Schwärzler and Sylvia Szely
A fragment of the interview published in the special (S8) of the magazine Lumière. If you want to read the complete interview: elumiere.net/exclusivo_web/s82018 info
Phil Hoffman. Image: María Meseguer
“My name is Phil Hoffman. Filmmaker and teacher from Canada. Tonight I’ll be screening early autobiographical works. Films that were made with the idea that, in order to make a film about the world you need to first understand yourself. Understand your tools as well as your inner desires and intent. And then you can kind of start to make films about the world.”
Philip Hoffman
Philip Hoffman. Programe 2. Total length: 85 min. CGAI – 30/05 – 21h
Pattern, measure, structure, correspondences, rhythms and combinations. This group of films join forces to think about the different expressions of these ideas in cinema. From the geometry in the composition of a shot, to the precision in the cuts, going through the ordering of the world in preconceived structures. The form as reason and guide, the own possibilities of cinema (and only of cinema) put in game, and turned also into a form to play. info
Ángel Santos
Galicia is one, but it seems to split into many due to the multiple voices and areas that its cinematographic panorama offers, a panorama which we perceive through the annual tour of Sinais en curto. It seems that curiosity and exploration guided the steps of Galician cinema, being also the short medium a fertile ground to give full rein to the manifestations that come out of that way of thinking and doing. From veteranry and knowledge to youth and discovery, Sinais en curto works as a varied catalog of samples of the most recent production. info
Time, structure, patterns. These are some of the principles that guide the ninth edition of the (S8) Mostra Internacional de Cinema Periférico that, under the title Lux Algebra, invokes the alchemical film elements that manipulate time and its structures, and that define a program with which it is completed the trilogy dedicated to film creation that the Mostra has been developing in these past editions, from the light with The New Impressionists (2016) to the material that supports the images with Objects and Appearances (2017), on the concepts of appropriation of found footage.
