Falling into pieces, falling into place

In Woman without Mandolin, Fabiano Mixo uses different camera angles to decompose a cinematic portrait of Miriam Goldschmidt into a cubist mirror mosaic. Similar to a cut-up, the surfaces of a human physiognomy are misaligned. In Iron Condor,Meredith Lackey arranges images of museums, mural reliefs and people in the parachute simulator in such a way that an associative space in the Midwestern United States, rather than a story, evolves. In Between Flashback and Déjà-vu, two cameras observe each other in the interplay of observation perspectives – a drone and a tripod-mounted camera battle for the surveillance image. An abstract, digital play of shapes and colours by Sebastian Bürkner, Tosse Not My Soule, is condensed into a meditation on the transcendency of modern life. The world breaks down into pieces accompanied by choral sounds and sound bits. An Ton Kaun, the experimental portrait of a noise musician, also lies in broken fragments. This 16mm film re-explores its subject using archive footage, image distortion and lots of subtitles. Carolina Hellsgård attaches GoPro cameras to racehorses in THUNDER IN MY HEART. She dissects the uncontrolled images and sounds, and uses them to create a new collage, enabling the viewer to almost physically experience the jockeys’ perceptions during the race. In The Interior, we delve into the seclusion of a winter Alaskan settlement populated by four people and 56 huskies. A flux of digital and 16mm images, characterised by snow, speechlessness, work and the sounds of nature.