Pesaro’s Exhibition of New Cinema was born in 1965 and was immediately identified as a location for the discovery of cinema that is called “new” and experimental, becoming as such a knowledge tool for authors from all over the world who express themselves in various formats.

In this selection there is no pretence to identify, through the aesthetics of the video, a genre that follows the experimental tradition. The selection of these past years shows the necessity to demonstrate a sort of actuality seeking to track down a collection of original signs and styles : video is all that which cannot go back to being cinema.

Andrea Di Mario, Responsible of SpazioVideo
www.pesarofilmfest.it

Harald Holba, “Busted 818”, Austria (2002), 5’
The first sequence of the video confronts the spectator with all the details of the planned project : the deliberate destruction of a Mazda 818 by over speeding the engine. Through the exact composition of the visual elements and the emotionalizing sound recording, the inevitable breakdown of the combustion engine turns into a dramatic experience.

Jean-Gabriel Périot,  “Dies Irae”, France (2005), 10’
“…of your love. Remember that today I am not lost in the fray.”

Andrei Zaitsev, “My Home”, Russia (2000), 23’

An ordinary street-corner in Moscow shot over the four seasons. The story of a slice of humanity caught by surprise in an existential, acute and unforgiving gaze.

Antonello Matarazzo, “Miserere”, Italy (2005), 19’
“Following an interview  during which they showed several of my paintings on people with deformities, I was contacted by a group of handicapped kids. Nothing seemed more interesting to me than these kids’ situations””

Antonello Matarazzo

Morgan Menegazzo, “L’acqua che pesa non cade dal cielo”, Italy (2003), 3’30’’
Locked, sectioned and distorted images try and create their own space through insistent references to radio noise ; in the meantime, a lowered umbrella complains about its quiet state…

Carlo Michele Schirinzi, “All’erta”, Italy (2003), 11’34’’
A look at a typical day of a soldier, between repressed desires and frontline exigencies. Created from original archive material (shot in digital from a television screen), the work analyzes the distinction between propaganda and historiography.

Pierre Villemin, “Mémoire carbone”, France (2004), 20’
“April 2004. Coal mining in Lorraine (France) became History due to the closing down of its last mineshaft, near Creutzwald. The museum of the mining industry asked me to film a few weeks before their closure. Considering the short time allotted, I decided to start filming immediately. I came back with 3-hours worth of rushes...but after the final cut, it became obvious that I had to go back there which I did with the help of a musician, Philippe Joncquel.”

Pierre Villemin

Shelly Silver, “What I’m Looking For”, USA (2004), 15’
A woman of unknown nationality sets out to photograph intimacy in public space.