Wishful Thinking
Trotters come round the bend with Immanuel Velikovsky as race caller. Why can't we believe in “if” anymore.
“The audio interference that he (Brown) whips up and cycles has the effect of sounding like a brewing storm. The stuttering images of horse-drawn chariots again evoke a coming apocalypse. Is Brown wishing for the end of the world, or for aesthetic gale winds that can bring order to chaos?” Greg de Cuir
“The audio interference that he (Brown) whips up and cycles has the effect of sounding like a brewing storm. The stuttering images of horse-drawn chariots again evoke a coming apocalypse. Is Brown wishing for the end of the world, or for aesthetic gale winds that can bring order to chaos?” Greg de Cuir
2017
Allan Brown
Oscillation in Sight #01
Oscillation in Sight is a series of film experiments that opposed the idea of representation and reconstruction of the appearance of motion in the real world. By making her own 16mm camera, the filmmaker can capture images without restrictions such as frame size, gate, speed, and shutters. In Oscillation in Sight #1, we will be gazing at a small transparent piece of plastic on a spinning motor, that appears to be phasing in and out of existence, oscillating between the familiar and distorted visions.
2023
Nan Wang
Filmed on Super 8, Convolve transforms pages from Greg Bright’s Fontana Mazes into a convoluted passage, using prisms, water refractions and warped chrome to obscure the already obscured path of The Maze. The score for this film is created by taking an analog-video feed of the film, and using the video output of the camera as an audio input. The black and white lines of the mazes sculpt the tone and structure of the audio in real-time, resulting in a jarring, alien soundscape.
Confidente
If I didn’t blossom, if I remained unbloomed, it’s because my roots were poisoned. I know it's false, an induced error, but... this is me.
2016
Karen Akerman, Miguel Seabra Lopes
Elli
Elli consists of a seascape shot from the spot that marks the start of World War II in Greece. However, it is mainly a follow-up to filmmaker Esther Urlus’s inquisitive interest in colour mixing in film. In this case, the optical mixing created by various flicker effects.
2015-16
Esther Urlus
Liquid Landscape
The result of a two-year research study on the aesthetics of liquid patterns. By using a mixture of liquid soap and film developer, rich visual patterns were created from the transit moments when liquid hits the 16mm film strip. Microscopic worlds and macroscopic landscapes emerge.
2017-18
Nan Wang
Head
Filmed on super 8 in an underground concourse located directly beneath Winnipeg's famous Portage and Main intersection. HEAD takes a structuralist examination of the often overlooked 360 degree concrete relief mural that spans the entirety of the underground passageway.
2019
Colby Richardson
2025
Matthew Pagoaga
13 min
United States
English
Matthew Pagoaga
13 min
United States
English
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Matthew Pagoaga
Jon White
Peter Coates
Autumn Teague
Jon White
Peter Coates
Autumn Teague
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World premiere
Gevorg Galstian (b. 1993, Novorossiysk, Russia) is a director and curator. He studied architecture in Moscow and later received a Master’s degree from the Paris School of Architecture. Transitioning to filmmaking, he graduated from the directing workshop at the St. Petersburg School of New Cinema and from the editing department at FAMU in Prague.
His films focus on experimental methods exploring different forms of perception through patterns, abstract imagery, flicker techniques, as well as sound vibrations and drone. He teaches film editing and conducts open workshops on working with film using editing tables for students. Since 2024, he has been active as a curator in the field of experimental cinema. In 2026, he founded the St. Petersburg International Experimental Film Festival (SPIEXFF).
His films focus on experimental methods exploring different forms of perception through patterns, abstract imagery, flicker techniques, as well as sound vibrations and drone. He teaches film editing and conducts open workshops on working with film using editing tables for students. Since 2024, he has been active as a curator in the field of experimental cinema. In 2026, he founded the St. Petersburg International Experimental Film Festival (SPIEXFF).
This program is dedicated to the phenomenon of flicker — one of the most radical techniques of experimental cinema, which changes conventional ways of perceiving image and sound, transforming them into a liminal cinematic experience. The historical starting point here, of course, was Tony Conrad’s structural film The Flicker (1966), which opened up a new field of possibilities for the authors of experimental cinema, who subsequently used this technique with varying degrees of intensity.
However, it was important for me to intentionally expand the notion of flicker itself and to trace how this principle manifests across a variety of examples: in the pulsation of sound, ultra-rapid editing, phase repetition, color mixing, the duplication of text, and the layering of abstract imagery.
All of this makes it possible to address the potential fragmentation of film — its capacity to break apart into discrete impulses, ruptures, and intervals. Yet it is precisely through the rhythm and tension of these ruptures that filmmakers reassemble their works, transforming fragmentation into a unified sensory experience.
However, it was important for me to intentionally expand the notion of flicker itself and to trace how this principle manifests across a variety of examples: in the pulsation of sound, ultra-rapid editing, phase repetition, color mixing, the duplication of text, and the layering of abstract imagery.
All of this makes it possible to address the potential fragmentation of film — its capacity to break apart into discrete impulses, ruptures, and intervals. Yet it is precisely through the rhythm and tension of these ruptures that filmmakers reassemble their works, transforming fragmentation into a unified sensory experience.
FLICKER
