How can we be certain that the binary can satisfy us? A trained glass artist, sculptor Jes Fan creates elegant installation works that quietly question our most fundamental assumptions about gender, race, and identity. At UrbanGlass in downtown Brooklyn, the artist heats, rolls, and sculpts molten glass. He explains, "Learning how this matter transformed itself from one state into another really entranced me into thinking, 'How I can I apply it to other mediums?'" At the Recess artist residency in Brooklyn, Fan constructs a new work, filling hollow glass globules with silicone and injecting them with politically charged biological materials like testosterone, estrogen, melanin, and fat. These organ-like forms are then hung on a lattice structure. Detaching biological substances from the context of the body, Fan is able to examine their meanings and allow the viewer to see them in a completely new light. Fan's personal experiences—moving from his native Hong Kong to the United States, growing up queer, and transitioning—have profoundly shaped his artistic practice. "Maybe it is triggering the similar experiences of being racialized or being gendered," says Fan of handling the materials injected into his work. "It's just a disposition that you're constantly placed in—a constant act of othering." Jes Fan lives and works in Brooklyn, New York. Learn more about the artist at: https://art21.org/artist/jes-fan/ CREDITS | "New York Close Up" Series Producer: Nick Ravich. Director & Editor: Brian Redondo. Cinematography: Brian Redondo & Nick Capezzera. Location Sound: Ana Fernández & Edward Morris. Additional Camera: Nick Childers. Music: Blue Dot Sessions. Color Correction: Chris Ramey. Sound Mix: Adam Boese. Design & Graphics: Chips. Artwork Courtesy: Jes Fan. Thanks: Anderson’s Martial Arts Academy, James Corporan, Cut + Measure, Alex Laviola, Miller Institute for Contemporary Art, Alex Paik, Recess, & Urban Glass. "New York Close Up" is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council; and by individual contributors. © Art21, Inc. 2019. All rights reserved. #JesFan #Art21 #NewYorkCloseUp
5月15日
Today, instead of actually living and experiencing things, we have become obsessed with superficial moments that can be shared on social media. We have forgotten about the conversations, relationships and adventures that we could have if we just took the time to get to know people. This film is about what happens if we do. We follow an encounter between Alice and Ali. Alice is a 25-year-old documentary photographer and activist who spent much time on the frontlines of the European refugee crisis. Ali works in Oman to support his family back in Pakistan. For 8 months of the year he lives in the desert without seeing his wife, daughters or friends. We documented what happens in the days after Alice takes a photo of Ali. They are not actors and there was no script. This is the real story of people getting to know each other. We captured their conversations and slowly discover Ali’s heartbreaking story. As well as his surprising attitude to his circumstances. The film was shot on analog to focus on what was really essential. And to reinforce how valuable authentic moments really are – something that is easy to forget with the slickness and disposability of digital film. With “The Encounter” we wanted to remind people about the real connections they could be missing. Because every person has a story. If you take the time to listen. Press kit// https://www.dropbox.com/sh/0l231veut2qwhor/AABgPXPcQXoFhPTuZNX0K7bKa?dl=0 Credits// Director: Marko Roth DoP: Josua Stäbler Producer: Simon Fessler Production Company: Simon & Paul Edit: Andreas Arvidsson Sounddesign: Moritz Staub - Staub Audio Copywriter: Vicky Jacob-Ebbinghaus Colorist: Nicke Jacobsson Music: Thomas Muis - 2WEI Music supervision: Christoph Körner - 2WEI 1st AC: Leo Sikstel Lab: Focus Film Visual Effects & Clean Up: Matthias Weiner - Sons of Motion Pictures Cast// Photo journalist: Alice Aedy Local: Ali Shot on// ARRI 235 ZEISS Super Speeds Uncoated Kodak Vision3 Supported by// Canvas Club https://canvascluboman.com/de/ Special thanks to// Kodak Germany - Michael Boxrucker, Camera Rentals NL - Charles McGough, Licam Rentals - Bernd Schmidt, Royal Film Company - Moritz Schreiner, Maria Kalamara, Julian Lindenmann, Canvas Club - Philip Eichkorn, Nina Boriri, Lennart Lahrs, Adrian Kuchenreuther, Henrik Roth, Sofia Misgena. Shot on location in Oman.
6月10日
I hope you enjoy this view of the 'Great American Eclipse', captured in Idaho and the Tetons on 21st August 2017. Best viewed with the lights down and the music up. It has taken me all of the nearly two years since the eclipse to develop and apply the specialised eclipse image processing and video editing skills required to create this. The video features footage from 7 out of 12 cameras I had running on the day. Six were onsite at South Menan Butte, Idaho. The other two cameras were at remote locations established in the days leading up to the eclipse: Table Mountain, Wyoming looking over the Tetons and another in the foothils of the Beaverhead Mountains (south of Blue Dome) looking over the Snake River Plains of Idaho. More info: http://philhart.com/the-moon-in-motion http://philhart.com/content/idaho-solar-eclipse Music by my talented friend, cellist and composer Kristin Rule: http://www.kristinrule.com/ Some things to note in the video: Partial Eclipse: The Moon moves across active sunspot groups which were unexpected for this eclipse nearing solar minimum. Approaching Shadow from South Menan Butte: The thin dark band of the approaching shadow of the Moon gives an unusual insight into the thickness of the atmosphere that we see from side on, above a distant horizon. Snake River Plain, Idaho: Note the shadow moving rapidly across the hazy cloud band, with Venus visible high in the sky above the Sun, and soft yellow twilight glow around the horizon. On Location: My Takahashi FS-102 telescope capturing the eclipse. The red lights on the mount and the camera indicate how dark it gets during totality. There's a thermometer hanging on the telescope which I was using to guide adjusting the focus as the temperature dropped during the eclipse. You can also see the filter on the telescope removed as totality starts. Widefied Corona: The diamond ring at second contact (start of the total eclipse) gives way to a wide view of coronal streamers of the Sun's atmosphere. The bright star Regulus appears in the frame also. Captured primarily with a Borg 77EDII telescope and Canon 5D Mark IV camera (automated with Eclipse Orchestrator) and a Pentax 300mm ED IF lens and Canon 6D. Eclipse over the Tetons: Note the shadow racing away across the landscape at left of the Teton's Range. I hiked the 11,100ft (3,387m) summit of Table Mountain three days before the eclipse to plant an automated camera hidden down the east ridge, with the highly uncertain hope of capturing footage on eclipse day. The Canon 5D Mark IV reliably churned away at more than three full size RAW files per second for six minutes covering totality and a few minutes either side. But on the hike back up on the day after the eclipse, I learned from other hikers that my camera had fallen over (in the wind) and therefore that the whole affair had likely been in vain. Read more about how lucky I am to have captured this unique sequence: http://philhart.com/eclipse-over-the-tetons Corona Close-Up: Baily's Beads, as the edge of the Sun breaks up into beads through hills and mountains on the rough edge of the Moon give way to a high resolution view of the solar corona with coronal loops, helmet streamers and polar plumes. If you watch carefully during totality you can see the motion of the Moon from right to left against the corona, particularly so as it reveals the giant red prominence on the right side, until the Sun reappears from behind the Moon, bringing an end to an eclipse that I had been anticipating, planning and rehearsing for for over three years prior. All of the visuals were captured on camera on the day. While there is some significant HDR processing and multi-camera compositing there are no CGI or Photoshop creations.
5月20日
GARAGE DE SOIR (Garage At Night ) Court métrage fiction | 2017 | Québec, Canada | 12:48 min| 2.39:1 |HD | Couleur |Stereo| Français + Eng. Subs. Cast Grand frère: Guillaume Laurin Petit frère: Antoine Pilon Emilie: Ève Lemieux Père: Stéphane Messier Crew Production : Aurélie Breton, Daniel Daigle (Les Films Émoi, Grande Roue) Réalisation : Daniel Daigle Scénario : Daniel Daigle Direction photo : Louis Lavoie Isebaert Direction artistique : Caroline Carré Montage : Daniel Daigle Son: Daniel Tardif Musique : David Fleury Synopsis Douze mois. Quatre saisons. Deux frères. Et un garage de soir. Twelve months. Four seasons. Two brothers. And a garage at night. Bio Passionné du 7ème art depuis l’enfance, Daniel est diplômé du programme Film Production de l’Université Concordia. En 2016, il signe son premier court métrage de fiction, C’est mon kid. L’année suivante il réalise son second, Garage de soir. Parallèlement, il développe un troisième court métrage et scénarise un long métrage. Passionate about filmmaking since childhood, Daniel is a graduated from Concordia University’s Film Production program. In 2016, he directed his first short film. Nightttime Garage is his second. He’s currently working on a third short film, while writing a feature film. Festivals Carrousel du Film de Rimouski |2017| Official Competition Festival du Film de la Ville de Québec |2017| Official Competition Festival de Cinéma en Abitibi-Témiscamingue |2017| Official Competition *WINNER AUDIENCE PRIZE* Cinefest Sudbury |2017| Official Competition FICFA, Moncton |2017| Official Competition Festival Vues dans la tête, Rivière-du-loup |2018| Official Competition Rendez-Vous du Cinéma Québécois, Montréal |2018| Official Competition Prix PCC!, Montréal |2018| Official Competition *WINNER PRIX CQAM, HONORABLE MENTION PRIX PIERRE FALARDEAU* Regard sur le court métrage au Saguenay |2018| Official Competition Canadian Screen Awards |2018| Official Competition RiverRun Film Festival |2018| Official Competition *WINNER BEST NARRATIVE SHORT FILM* Festival Interactif de Cinéma de Lévis |2018| Official Competition Soirée Kino MTL |2018| Official Screening FCVQ @ Comediha! |2018| Official Screening Palm Springs Shortfest and Market |2018| Official Competition Filmographie du réalisateur C'est mon kid |2016| Short Film Travelling, les films qui voyagent / Attn : Alexandre Dostie / coordo@travellingdistribution.com/ 1 514 467-8160 Aurélie Breton/ aurelie.breton59@gmail.com / Daniel Daigle / danielsdaigle@gmail.com / facebook.com/garagedesoir /
5月28日
This is the story of Lamar, a 12-year old vampire with a dark secret. https://www.fightbloodcancer.net CAST (in order of appearance) Lamar – Jeremiah Waysome Karissa – Ethosheia Hylton Jeremy – Selorm Adonus Aaron – Amari Webb-Martin Lucas – Ashley Stewart Noah – Lance Bremmer Ben – Cameron Douglas bus victim – Dayne Waysome nurse – Verdet Kessler doctor – Luca Armato CREW director – Eugen Merher script – Eugen Merher, Mortimer Hochberg, Philip Chrobot dop – Mortimer Hochberg producer – Philip Chrobot, Gerrit Klein production manager UK – Tatenda Jamera casting – Jeremy Zimmermann editor – David Gesslbauer color grading – Marina Starke VFX – ACHT Hamburg GmbH production design – Maike Kiefer production design assistants – Christina Anna Sophie Mammes, Jake Parker music composition – Alexander Wolf David sound design – Robin Harff sound recordist – Robert Chen, Hubert Adam Wieckowski costume designer – Lena Peifer-Weiß make up / SFX – Olivia Henderson 1st AC – Leo Sikstel 2nd AC – Harry Milton production company – Filmakademie Baden-Württemberg FILM SCHOOL senior lecturers – Bernd T. Hoefflin, Zoran Bihac, Martin Schmid, Florian Sigl project coordinator – Olivia Marten line producer Filmakademie Baden-Württemberg – Thomas Lechner SPECIAL THANKS Maike Hornberg@DSD - Deutsche Stammzellspenderdatei, Caligari Förderpreis, Esther Kurle@BITE Management, Maik Siering@Sterntag Film GmbH, Max Krumbe@ACHT Hamburg GmbH, Vantage Film GmbH, Lisa Dee@Film LBBD London, Danny O’sullivan & Suraya Khanom@City Wood Services, Lukas Hoffmann@Kaiser Showtechnik, Andreas Niemann@Look Solutions, Felix Lang@UFO Filmgerät GmbH, Arda Yücel, Manuel Schlösser@Universitätsklinikum Tübingen Special thanks to all parents! A production by Filmakademie Baden-Württemberg ©2019
3月27日
Shin Biyajima, a Japanese snowboarder, shares the intimate story of how he found his Ikigai (生きがい) or "reason for being" through a lifetime of adoration and exploration of his mountainous backyard of Nagano, Japan. Joined by American snowboarder Travis Rice, Ikigai is an immersion into Shin’s life, Japanese mountain culture, and the similarities between two friends who despite being an ocean apart, grew up with two things in common; the mountain as a classroom and a deep affinity for board riding. ------------------------------------------------------------ I was able to spend three years traveling and exploring the Japanese Alps with Shin Biyajima during the production of "The Fourth Phase" film. During that time I shared so many adventures and conversations with this new friend of mine. After our film released, I really wanted to capture a more authentic portrait of Shin and his process of living and riding as a Japanese snowboarder. I spent about six weeks over two years following Shin around his backyard in the Nagano Prefecture hiking, inquiring and immersing myself in Shin’s universe. Joined by film maker Justin Smith, we wanted to capture an intimate portrait of a lifestyle that is quite foreign compared to the norms of North America, yet still strangely similar to the principles that most snowboarders share around the love of the mountains. - Travis Rice ------------------------------------------------------------ Directed By: Justin Taylor Smith Created By: Travis Rice Starring: Shin Biyajima & Travis Rice Cinematography By: Justin Taylor Smith, Sean Aaron, Greg Wheeler, Hiroaki Yonekura Editor: Justin Taylor Smith Assistant Editor: Dylan Parr Colorist: Scott Sterling Sound: Erik Groysman Post Supervisor: Ariel Zemlicka Music Supervision: Lory Vincent Music By: Blitzen Trapper, Young Magic, Sugar Candy Mountain
1月29日
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