Be there in time. We recommend that you arrive at least 20 minutes prior to the start of the screening.
Api (April, 1949) is a one-take recorded translation of a man’s proposal letter and firm vision of life through love. Penned after my paternal grandfather’s time in a forced labor camp during WWII, Api (April, 1949) is a reconstruction of his bid for agency during a time of oppression and destruction.
The Ghost Image
2026
Emmanuel Piton
Russian Premiere
1995, she discovers the existence of the spheres. 2024, he searches for a trace of their passage. A mother and son face the tragic secrets passed on from one generation to the other. From a class photo to a satellite shot, the story of a revelation.
8.75mm film - a celluloid format unique to China and never circulated elsewhere, was a film format where no camera was made for. This print film stock was primarily used for mobile projection units to exhibit films in countryside, mountains, islands and ethnic minority regions in China from the 60s to 80s.
'What is a film without a camera?’, a question that emerged from the research, was explored by the artist through DIY printing and different photochemical processes. Images of film strips burn, blur, and tear within the chromatic space, the fleeting frames of archival films overlap with the super 8 camera footage shot by the artist. These interlayered images coalesce with optical sound and narratives from unnamed interlocutors, weaving together fragmented stories of an audience, a film factory and a camera inventor, where facts are immaterial, and memories are evanescent.
Within the abstractions, the images and sounds of resistance are folded into the tales of the cinematic invention. Reimagining a format that once resisted circulation, as a medium through which other forms of affect and dissenting hearsay continue to ripple.
'What is a film without a camera?’, a question that emerged from the research, was explored by the artist through DIY printing and different photochemical processes. Images of film strips burn, blur, and tear within the chromatic space, the fleeting frames of archival films overlap with the super 8 camera footage shot by the artist. These interlayered images coalesce with optical sound and narratives from unnamed interlocutors, weaving together fragmented stories of an audience, a film factory and a camera inventor, where facts are immaterial, and memories are evanescent.
Within the abstractions, the images and sounds of resistance are folded into the tales of the cinematic invention. Reimagining a format that once resisted circulation, as a medium through which other forms of affect and dissenting hearsay continue to ripple.
Lectorium, Sevcable Port
19 September / 17:00
Official
Selection#4
Selection#4
Human memory is unreliable. With time, the details of events become distorted, faces become blurred, and even the house where you were born can appear unfamiliar.
Archival photographs, found footage, and film material undergoing various forms of decay, through different techniques, the films in this program attempt to capture, simulate, or reconstruct memories.
Moments and millimeters.
Archival photographs, found footage, and film material undergoing various forms of decay, through different techniques, the films in this program attempt to capture, simulate, or reconstruct memories.
Moments and millimeters.
80 min
Program:
1. Emmanuel Piton, The Ghost Image (2026)
2. Anagata Zhulitova, Thunder Rumbles Once (2025)
3. Grau Del Grau, The Next World (2026)
4. Olga Losik, Do You Remember Me? (2026)
5. Harper Stone, Api (April, 1949) (2025)
6. Rieth Simon, Le Mouvement Tragique des Sphères (2026)
7. Peng Zuqiang, Afternoon Hearsay (2025)
2. Anagata Zhulitova, Thunder Rumbles Once (2025)
3. Grau Del Grau, The Next World (2026)
4. Olga Losik, Do You Remember Me? (2026)
5. Harper Stone, Api (April, 1949) (2025)
6. Rieth Simon, Le Mouvement Tragique des Sphères (2026)
7. Peng Zuqiang, Afternoon Hearsay (2025)
Saint Petersburg, Russia
Lectorium Sevcable Port
