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Programme: PoetryFilm at Saatchi & Saatchi, March 2007

Below are details of the programme from the PoetryFilm event which took place in March 2007 at Saatchi & Saatchi on Charlotte Street in London.

Nothing is Impossible

La Grasse Matinee (director Alasdair Ogilvie, poet Jaques Prevert, translation Lawrence Ferlinghetti) 3m30

Dreams of a hungry man. It’s terrible, the faint sound of a hard-boiled egg cracked on a tin counter. It’s terrible, the noise when it stirs in the memory of a man who’s hungry. Also terrible is the head of the man…

 

Myth (George Sokol) 11m

A man and a women in a cafe have a telepathic conversation about solitude, absurdity, despair, freedom, and the meaning(less)ness of existence, expressing opposing philosophical views.

 

Regardez (Sarah Rohnert) 4m

Set in three different apartments, the film observes the strange private behaviour of rootless characters who are as lonely as a single string of spaghetti.

 

The Longing (Linda Landers) 10m

The film employs gesture, text and silence, creating a language of poetry and dance to explore distance and presence/absence.

 

Dirtbox (Carl le Blond and Phil Dirtbox) 10m

Mr Gray takes us on an elegant, threatening and thoughtful poetic journey.

 

I Can’t See (Emily Keen) 10m

An exploration of what it means to be able to see, in three parts. The film goes through a stage of complete lack of image to a stage of such extreme close-ups that the ability to view is equally impossible. Blackness / shouting / blurred vision / pixel colours / chalk outlines.

 

Fris (Louis van Zwol / Wonder) 4m

Puddles and tattoos. A tale of desire told through Louis van Zwol’s unfolding imagery, poet Wonder’s narration, and estranging music made by Detroit techno creator DJ Aardvark.

 

Cut-Up Experiment VIII (Malgorzata Kitowski) 8m

An Oulipo poem employing anagrams and numerology is turned into a triptych cut-up. Each segment contains the same 166 words jigsawed in a different order. The film explores perceptions of meaning through seeing and hearing: in the first section, the words are both seen and heard; in the second section the words are heard and not seen; in the third section, the words are seen and not heard.

 

Three Mirrors (Diana Mavroleon) 23m

This cult film shot in the mid-1980s was written using automatic writing to explore the unconscious mind, using mirrors as in-gates. Three Mirrors was used in both artistic and academic circles for discussion, for example, in R.D. Laing’s department of Psychology. The soundtrack is an original score by Gary Carpenter.

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