SELECTED FILM
This page shows selections from my personal artist films.
home
Selected Filmography
Taking Over the King's Land 2013
The Landscape of Pleasure 2011
Tarkovsky's River 2010
Postindustrial Baroque 2009
La Luna Nera: Black Moon Rising 2008
Places – 5 Films 2005:
Mosti: The Bridges of St Petersburg;
Europa;
The House on Sadovaya St.; La Mort Toujours;
The First Experimental City |
|
Suspended somewhere between the artist film and the documentary, I am interested in real things and real places and how we perceive them. As a self shooting film maker, working with a an HD ENG-video camera and a DSLR, I am interested in the image and in making the image, and how meaning can be created from the combination of techncial process and imagination. |
Taking Over the King's Land | 23:00 documentary.
In a forgotten corner of East London, Egyptian artist Nazir Tanbouli is battling weather, vandalism and lack of funds, to create a massive mural installation all throughout a condemned housing estate. |
Featured Film:
The Landscape of Pleasure |
The Landscape of Pleasure 06:35
“Pleasure is the object, duty and the goal of all rational creatures.” Voltaire
The Landscape of Pleasure is a short film that looks at the town of Southend as a landscape designed for pleasure and entertanment. |
featured film
Tarkovsky's River
Tarkovsky's River 09:57
"Tarkovsky's River" is about a journey into landscape, into the deep heart of a place where the river is as wide as a sea, where skies are vast and time stands still. A journey into collective memory that holds within it the interconnectedness of man and the natural world. |
featured film
(The First) Experimental City (Belfast) |
(The First) Experimental City (Belfast)| running time 5:00
It starts as a walk down the street. From there to the river and further, to where the tall ships were built. A filmic journey through the city to the now deserted Drawing Offices of Harland&Wolff, re-connects two historic and magical places. Join the tour, hold tight and discover for yourself.
Text by Ivan Chteglov |
|
|
|