Be there in time. We recommend that you arrive at least 20 minutes prior to the start of the screening.

Landscapes revealed themselves through text, paper through movement, while the sun gave them relief. This is a journey across found words, enunciating a discovery, their textures constructing the sea and the waves, in a travelogue from the first exploration, the first step over the sand towards the shore. “Amor” writes this joy to underline it in its time, captured on paper. This film has been composed through a scanner, and it’s the first chapter of the “Reír al Sol” series.

The film uses 80mm check tape as a analog cinematic medium. The movie demonstrates the peculiarities of the image produced by the thermal printer.The noise of the coarse grain becomes a separate expressive means and even the main character.Traveling through the gloomy images that are on the verge of discernibility the audience and its imagination becomes the basis of the narrative and the film itself.The film replicates the Rorschach test effect, where the viewer can perceive their own image within abstract forms. This effect became the foundation for creating the film.

Four dots blink on the screen and start to join following some of the multiple possibilities that can create connections between them. The generated shapes are sigils that invoke aligned forces, one after the other, in a flickering and hypnotic trance.

Contact print onto high contrast 16mm black and white film of layers of different materials particularly moire patterns, generating "direct sound".

“During a sunny afternoon foray spent gamboling along the thresholds of flicker fusion and the auditory fusion frequency, I discovered, for the first time, ways to bring all properties [i.e., timbre, pitch, intensity, and duration] under a single control in order to create a total serialism of the mind, a sort of psychophysiological gesamtkunstwerk in which the fabric of time is rolled up like a rug, rotated, cut into sections, taken out of doors to be cleaned slice by slice, then reassembled into its previous totality and unrolled, once again seamlessly blanketing the surface of our conscious reality.” - Karlheinz Stockhausen

Lectorium, Sevcable Port

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.

72 min

Program:

1. Douglas Urbank, Transmission (2026)
2. Blanca Rego, Alignment (2025)
3. Martin Moolhuijsen, Katabasis (2026)
4. Nikita Baranov, The Soot (2025)
5. Javiera Cisterna, Amor (2025)
6. Brent Coughenour, The Sick Sense (2026)

Saint Petersburg, Russia