Lokasi Pemutaran & Waktu:
OMAH APIK, Pejeng Senin/Mon 12 Oktober 2015, jam 20:00 – 21:00 WITA
SIKUNO, Denpasar Sabtu/Sat 17 Oktober 2015, jam 19:45 – 20:45 WITA

Kurator: Oggs Cruz
Durasi Total: 44’00”
Catatan Kurator:
Empat film pendek yang dipilih tahun ini semua bercerita tentang ingatan. Dengan berbagai sisi pandang dan penggambarannya.

The four short films that comprise this year’s S-Express Philippines program all tackle memories, in various ways and manners.

(THE MAN WITH THE CHEAP CAMERA)(Epoy Deyto / 2010/ 08’00”)Paduan dari gambar resolusi rendah yang rekam seseorang dengan kamera digital murah buatan cina. Namun, keacakan inilah yang membuat film ini memikat.
Epoy Deyto’s Isang Lalaking May Mumurahing Kamera (The Man with the Cheap Camera, 2010) is on its face just a medley of low resolution images of whatever the titular man happens to fancy capturing with his cheap China-made digital camera. However, it is its organized randomness that makes the film absurdly alluring. There is an awkward beauty in the pixelated visual representations of the memories the filmmaker attempts to entrust to his mass-produced recording device. In a way, the visual faults of the images he captures only serve to remind him of either his station in life or his surrender to the whims of capitalism, alleviated partially by his freedom to create something out of near nothing.

02_Droga “DROGA!” (DRUG!)(Miko Revereza / 2013/ 08’00”)

Di sisi lain, kasar tapi sekaligus menggoda aural dan tekstur visual untuk menciptakan ilusi yang terjebak dalam kebingungan psychedelic yang biasanya dialami seseorang saat di bawah pengaruh obat-obatan.

Miko Revereza’s Droga! (Drug!, 2013), on the other hand, utilizes harsh but seductive aural and visual textures to create an illusion of being trapped in a psychedelic daze that one usually experiences when under the influence of hallucinogenic drugs. Interestingly, the shapes and figures that Revereza ingeniously captures are those that can be attributed to a country’s colonial past, from dance to fashion to fastfood. Revereza seems to liken his audience’s bewitched gaze to a country’s allegience to an addicting foreign culture, whose lingering remnants threaten to replace the nation’s sanity.

 03_Class-Picture “CLASS PICTURE”(Tito & Tito / 2012 / 05’00”)

Dibuat dengan 35mm dan menampilkan apa yang pada dasarnya adalah satu frame dari pemandangan pantai di mana sekelompok pelajar berpose resmi untuk foto. Hal ini menipu ingatan secara langsung.

Class Picture (2012), by the art collective Tito & Tito, is shot in 35mm and features what is essentially a single frame of a seaside view where a class of young students formally pose for a picture. It is deceptively straightforward, except that its entire concept deftly encapsulates the melancholy of fading into obscurity. The film, with its manner of being shot in a medium that is being pushed to obsolescence, its subject matter that consists of the creation of something that is but a reminder of a distant youth, and its distinct look that echoes neglect, laments the state of being an artifact, of being a memory on the midst of a sea of forgetting.

 04_Entropy-Machine Entropy Machine”(Dodo Dayao / 2010 / 23’00”)

Mengingat dunia sebelum peradaban. Manakah kejadian yang untuk dikenang? Yang manakah kejadian yang untuk dilupakan? Terserah pembuat film, dengan kamera mereka dengan berbagai bentuk dan ukuran menciptakan hal itu.

Finally, Eduardo Dayao’s Entropy Machine (2010) remembers a world prior to civilization. It features a solitary male within a forest, beautiful but spare, where absolutely nothing happens. What memory is there to be created? What memory is there to be forgotten? It is up to the filmmakers, with their cameras of various shape and sizes, to create them.


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