MIEFF 2018
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MIEFF 2018 was held on September 26 - 30 at Electrotheatre Stanislavsky, Documentary Film Center, New Space. Theatre of Nations and GARAGE museum of contemporary art
69
5000
SUBMISSIONS
7000
FILMS FROM 23 COUNTRIES
PEOPLE IN 5 DAYS
PROGRAMME 2018
JURY
- Alisa PrudnikovaAlisa Prudnikova is an art critic, curator, director of regional development of ROSIZO-NCCA, commissioner and artistic director of the Ural Industrial Biennial of Contemporary Art. One of the leading experts in Russia in regional art and art industries. From 2005 to 2016 she headed the Ural Branch of the National Centre for Contemporary Arts, and during this time Yekaterinburg became one of the most important centers of contemporary art in Russia and entered into many Russian and foreign ratings as one of the most creative cities in Russia. In 2016 Prudnikova became a member of the board of the International Biennial Association (IBA), which includes world's leading biennials. She is a member of ICOM and AICA associations. She is two-time winner of "Innovation", national award in the field of contemporary art.
- Kevin B. LeeKevin B. Lee is a US-born, Germany-based filmmaker, artist and critic. Over the last ten years, he has produced over 360 video essays exploring film and media. His award-winning "desktop documentary" Transformers: The Premake played in several festivals, including the Berlin Film Festival Critics Week. In 2017 he was the first-ever Artist in Residence of the Harun Farocki Institut in Berlin. He is Professor of Crossmedia Publishing at the Merz Akademie, Stuttgart. His video work can be found at https://www.alsolikelife.com.
- Ekaterina LazarevaShe was born in Moscow, graduated from Russian State University for Humanities, faculty of art history and Rodchenko Moscow School of Photography and Multimedia. Artist, curator, PhD in history of art. Specialist in Italian futurism, senior researcher at the State Institute of Art. She taught at Rodchenko School, Russian State University for Humanities, Higher School of Economics in Moscow. As an independent curator, she established Moscow Mayakovsky Festival, supervised Russian section of the First Prague Biennale, exhibitions Zones of Visibility, Photo of the future and the others. She is currently the curator of Garage Museum of Contemporary Art.
how it was
AWARD WINNERS
Main Prize
Room with a coconut view
Thailand| 2018 | 28 min
Tulapop Saenjaroen
A tour guide and also a hotel rep automated voice, Kanya, leads her foreign guest, Alex, through a beach town in the east of Thailand called Bangsaen. Since Kanya's presentation is overtly aestheticized and strictly regimented, Alex decides to explore the town by himself, fantasizing to get out of the frame.
Tulapop Saenjaroen
A tour guide and also a hotel rep automated voice, Kanya, leads her foreign guest, Alex, through a beach town in the east of Thailand called Bangsaen. Since Kanya's presentation is overtly aestheticized and strictly regimented, Alex decides to explore the town by himself, fantasizing to get out of the frame.
Kodak Film Prize
Sunstone
Portugal / France | 2018 | 34 min
Louis Henderson, Filipa César
The film tracks Fresnel lenses from their site of production to their exhibition in a museum of lighthouses and navigational devices. It also examines the diverse social contexts in which optics are implicated, contrasting the system of triangular trade that followed the first European arrivals in the 'New World' with the political potential seen in Op art in post-revolutionary Cuba. Incorporating 16mm celluloid images, digital desktop captures and 3D CGI, the film also maps a technological trajectory: from historical methods of optical navigation to new algorithms of locating, from singular projection to multi-perspectival satellitic visions. Registering these technical advances progressively through the film's materials and means of production, Sunstone creates "a cinema of affect, a cinema of experience — an Op- Film."
Louis Henderson, Filipa César
The film tracks Fresnel lenses from their site of production to their exhibition in a museum of lighthouses and navigational devices. It also examines the diverse social contexts in which optics are implicated, contrasting the system of triangular trade that followed the first European arrivals in the 'New World' with the political potential seen in Op art in post-revolutionary Cuba. Incorporating 16mm celluloid images, digital desktop captures and 3D CGI, the film also maps a technological trajectory: from historical methods of optical navigation to new algorithms of locating, from singular projection to multi-perspectival satellitic visions. Registering these technical advances progressively through the film's materials and means of production, Sunstone creates "a cinema of affect, a cinema of experience — an Op- Film."
SPECIAL JURY MENTION
Ultima Ratio Δ Mountain of the Sun
Canada / Lebanon | 2017 | 13 min
Bahar Noorizadeh
Cinema devolved into the slow-motion industry: spectacles repeat. Ultima Ratio speeds up by slowing down the image-fix. Traversing the crime-enriched Bekaa valley, the camera uncovers the age-old industries of hashish, models for altering what we see.
Bahar Noorizadeh
Cinema devolved into the slow-motion industry: spectacles repeat. Ultima Ratio speeds up by slowing down the image-fix. Traversing the crime-enriched Bekaa valley, the camera uncovers the age-old industries of hashish, models for altering what we see.