Author: glitch_admin
CNMI – Woolmark
Copycat
All I AM
CNMI – BE READY
ON BRANDED CONTENT AND NEW STORYTELLING DEVICES
Taking the difference between fashion films and classic commercial as a starting point, we will discuss various forms of brand narration, ways to achieve a contamination between the protagonist’s and brand’s personality, why the apparent value of pure entertainment of a fashion film can prove to be an efficient marketing instrument or the implications, the shift from the viewer as consumer to the viewer as spectator or the use of new technologies in fashion films.
VR Corner
From New York to Australia, stopping through Senegal, the selection of VR films explores a series of inner landscapes and dreamlike experiences, approaching gender issues, local communities, mythology and the power of movement. By use of technology, the user becomes truly immersed in these scenarios and as “an audience of one” is involved at a much higher degree. By organising a Virtual Reality Corner in partnership with Promenada, the festival opens a discussion on the use of new media and technologies in film and in the creative process, building on the benefits that technology brings to a fashion film from the point of view of texture, movement and sequencing.
Daisies
Banned by Czech authorities upon its release for “depicting the wanton”, the film presents the story of two female friends, both called Marie and fashionably dolled-up, playing a game of escorts. As Nicolas Rapold states in The New York Times, “the extraordinary 1966 film ‘Daisies’ represents an exhilarating, lesser-known strain of the Czech New Wave. This radically mischievous work was the second feature of the wave’s sole female director, Vera Chytilova. In her visually arresting, capricious film — full of colorful experiments, dazzling collage effects and surrealist antics — two dangerously bored young women have anarchic fun in a series of loosely connected episodes.”
Cineconcert – Inferno Unseen
Introduced by festival curator Marketa Uhlirova and artist Rollo Smallcombe, Henri-George Clouzot’s The Inferno, is one of the most tantalizing uncompleted projects in film history. The Inferno Unseen is a newly edited assemblage of rushes filmed in 1964. With his cinematographers Andréas Winding, Armand Thirard, and Claude Renior, Clouzot staged seemingly endless wardrobe and screen tests – often combined with abstract kinetic and optical experiments – that primarily focused on Schneider performing simple, seductive actions in carefully composed mises-en-scène. Departing from Serge Bromberg’s critically acclaimed documentary about the making of Clouzot’s film (2009), The Inferno Unseen focuses solely on Clouzot’s intoxicating visions, allowing them to build their own momentum as they unfurl in all their glory.
Love, Cecil
The Oscar-winning set and costume designer, photographer, writer and painter Cecil Beaton was not only a dazzling chronicler, but an arbiter of his time. From the Bright Young Things to the front lines of war to the international belle monde and the pages of Vogue and then onto the Queen’s official photographer – Beaton embodied the cultural and political changes of the twentieth century. In this tender portrait, director Lisa Immordino Vreeland (Diana Vreeland: The Eye Has To Travel, Peggy Guggenheim: Art Addict) blends archival footage and photographs with voice over of Beaton’s famed diaries to capture his legacy as a complex and unique creative force. Dynamic and lyrical, LOVE, CECIL is an examination of Beaton’s singular sense of the visual, which dictated a style that set standards of creativity that continue to resonate and inspire today.