Jyoti Mistrys Cause of Death visas tisdagen den 29 april på doktorandkurs under ansvar av professor Marina Dahlquist.
Filmprogram:
Verk ur Filmforms distributionskatalog
Cause of Death
Jyoti Mistry
2020, 00:19:43
+46 (0)8-651 84 26
info@filmform.com
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Cause of Death är kursfilm på Stockholms universitet
Stockholms universitet
IN SWEDISH
Kontoret, Skärholmen i serien Svenska berättelser
Hägerstensåsens Medborgarhus
Kontoret, Skärholmen av Mats Eriksson Dunér visas tisdagen den 22 april i ett filmprogram som denna gång riktar in sig på klassamhället i Sverige. Det dysfunktionella, misskommunikation och utanförskap är i fokus när Film i Samtidskonsten fortsätter sin filmserie “Svenska berättelser”. Curaterat av Martin Grennberger och Nathalie Åhbeck.
Filmprogram:
Verk ur Filmforms distributionskatalog
Kontoret, Skärholmen
Mats Eriksson Dunér
2013, 00:40:00
Svenska Berättelser är ett filmprogram och en inventering av filmer som sträcker sig över sju decennier och över den rika svenska dokumentära traditionen, och inkluderar såväl mockumentärer, konstfilmer som tidiga videoverk och experimentfilmer. Genom att hålla uttrycksformerna interagerande undersöker programmet olika sätt som konstnärer och filmare förhållit sig till vårt historiska och modernistiska arv, det svenska klassamhället, men också till skevheten i den svenska självrepresentationen. Flertalet filmer tar formen av berättarexperiment, som motsätter sig att på ett enkelt sätt sorteras och kategoriseras, men som trots allt skildrar brytpunkterna mellan det gamla och det nya, mellan generationer, och erfarenheter av att vara en del av samhället och att stå utanför det.
PROGRAM
Nollbudget Videodirekt:
Samförståndsmannen, Projekt Handikapp
2011, 11 min, digital
Mia Engberg:
The Stars We Are
1997, 28 min, digital
Solveig Nordlund:
Bergtagen
1994, 8 min, digital
Mats Eriksson Dunér:
Kontoret, Skärholmen
2013, 40 min, digital
Film i Samtidskonsten fortsätter serien Svenska Berättelser med ett program med kortfilmer som lyfter fram den icke-kommunikativa skevhetens, den sociala dysfunktionens och utanförskapets såriga närvaro i det svenska klassamhället. I Samförståndsmannen, Projekt Handikapp, gjord inom ramen för Malmöbaserade kollektivet Nollbudget Videodirekt, fungerar Lennart, ordförande i en ideel förening, som medlare i en drastiskt uppstånden konflikt mellan en rullstolsburen projektarbetare och föreningens vaktmästare. Genom fokusförskjutning, förvriden humor, lyckas denna uppvisning i “samstämmighet” leda oss bort från det verkliga problemet. I Mia Engbergs The Stars We Are följer vi Kalle, gay, skinnskalle och HIV-positiv under hans sista julledighet i livet. Det är både en skildring av komplex vänskap och ett liv färgat av missbruk, självvald isolering och stråk av misantropi, samtidigt som det är ett melankoliskt och inkännande porträtt av ett annat Stockholm. I Bergtagen filmar Solveig Nordlund via en serie åkningar missbrukare och narkomaner i centrala Stockholm. Människans förfrämligande omsluten av en modern, kall arkitektur, vilket kan leda tankarna till den brittiska författaren och dystopiska satirikern JG Ballard, en viktig referenspunkt för Nordlund. På ljudsidan hör vi samtal och meddelanden från föräldrar, vänner, arbetsledare, och denna brutna kontakt bildar här en hallucinatoriskt mörk inramning. Mats Eriksson Dunér har länge varit intresserad av det kollektivas relation till organisering, alternativa urbana rum, sociala gemenskaper. I Kontoret, Skärholmen lyssnar vi på Kristian, en av de hemlösa som bodde i det husvagnsläger som låg intill Kungens Kurva i Skärholmen mellan åren 2007-2011. De boendes relation till platsen och samhället i stort avhandlas, det kollektiva och personliga rör sig sömlöst in i varandra här, och här fångas det upp av tablåartade kamerainställningar.
Film i Samtidskonsten finansieras med stöd från Kulturrådet.
Extensive scope of Swedish avantgarde at Austrian Film Museum
Austrian Film Museum logo
Works distributed by Filmform make up most of the two-day screening event “Sweden Images: The Amos Vogel Atlas 20” at the Austrian Film Museum. The programme is dedicated to the recently deceased Gunvor Nelson, who is presented by two films, and Staffan Lamm. Russelltribunalen (2006) by the latter is the newest film in the programme which chronologically streches back as far as to Reinhold Holtermann’s Stockholmsbilder – experiment (1929). Curated by Martin Grennberger and Stefan Ramstedt who are in attendance.
Programme:
Works distributed by Filmform
1
Amen
Carl Slättne
1964, 00:20:00
2
Ansikten i skugga
Peter Weiss
1956, 00:13:00
3
Antifilm
Carl Slättne
1962, 00:04:53
4
Coca nr 1
Olle Hedman
1979, 00:00:36
5
En dag i staden
Pontus Hultén & Hans Nordenström
1956, 00:19:00
6
Film No.9
Olle Hedman
1980, 00:01:22
7
Förvandla Sverige
Jan Lindqvist & Stefan Jarl
1974, 00:30:00
8
KIRSA NICHOLINA
Gunvor Nelson
1969, 00:16:00
9
Mass - Monument for a Capitalist Society
Åsa Sjöström
1976, 00:14:00
10
N
Anne Robertsson
1967, 00:03:00
11
Renslakt vid Krutvattnet/Reindeer slaughter at Lake Krutvattnet
Louise O'Konor
1967, 00:06:00
12
Russelltribunalen
Staffan Lamm
2006, 00:09:27
13
Sightseeing
Peter Nestler
1968, 00:10:00
14
Study in Optical Rhythm
Björn Lüning
1953, 00:06:00
15
Travelog – bilder från en resa
Claes Söderquist
1969, 00:30:00
16
Velocipeden Union
Kjell Johansson
1965, 00:09:00
17
X
Pontus Hultén
1954, 00:10:00
What images of Sweden exist beyond the major canonized names whose radiance and international fame have forced all other images to the side, as in so many other countries with small film production histories? This program moves between formal experiments, activist documentaries, and animated films focused on kinetic research, investigating some of these hidden traces, broken narratives, and alternative histories.
The selection includes amateur filmmaker Reinhold Holtermann’s Stockholmsbilder (1930), which can be considered as the first Swedish experimental film due to its imaginative and suggestive camera editing; films made in the context of different movements and groups – such as Arbetsgruppen för film (later Filmform), Svenska Filmligan, and FilmCentrum – and works displaying, in one way or another, connections between Swedish experimental film culture, international avant-garde films, and art.
The program is dedicated to Gunvor Nelson and Staffan Lamm, both of whom recently passed away. They are very different filmmakers: Nelson is the most famous Swedish experimental filmmaker, Lamm a hardly known documentary and essay filmer. Yet, their different aesthetic approaches reflect the breadth of Swedish avant-garde film culture and also encompass the various political methods which are gathered in this program. (Stefan Ramstedt, Martin Grennberger / Translation: Ted Fendt)
With Stefan Ramstedt and Martin Grennberger in attendance.
Amos Vogel (1921–2012), an Austrian-born Jew, became one of the most important figures in international film culture after his emigration to the United States. The Amos Vogel Atlas is a series dedicated continuing Vogel’s oppositional legacy alongside the study of his literary estate, which is deposited in the Film Museum. Rarities from the collection represent key focal points.
IN SWEDISH
Två verk från 1950-talet på Vandalorum i Värnamo
Vandalorum
De vita händerna av Rut Hillarp och Study in Optical Rhythm av den nyligen avlidne Björn Lüning visas i loop på Vandalorum museum för konst & design. Visningen sker 14-27 april i samarbete med Värnamo Filmhistoriska Festival, Sveriges enda festival med inriktning på den svenska filmhistorien. Curaterat av Clara Gustavsson.
Filmprogram:
Verk ur Filmforms distributionskatalog
1
De vita händerna
Rut Hillarp & Mihail Livada
1950, 00:13:00
2
Study in Optical Rhythm
Björn Lüning
1953, 00:06:00
Filmkoop Wien x Filmform
Filmkoop Wien
In collaboration with Filmkoop Wien, we warmly invite you to “The Sound of Sweden”, an evening of experimental cinema that unfolds like a visual and sonic poem. The journey opens with My Name is Oona, Nelson’s final breakthrough on the American avant-garde scene, where Gunvor Nelson’s daughter recites the days of the week creating a loop engaging her name. The mood deepens with EMS No 1, an interplay of abstract sound and image challenging conventional film form. As the night progresses, How Pure is the Journey? invites you to experience the transformation of rituals into visual art. The experience finds its close with Light Years, which blends film with animation to evoke the rhythms of Sweden’s countryside. Curated by Andreas Bertman, Cosma Grosser and Markus Maicher.
Programme:
Works distributed by Filmform
1
MY NAME IS OONA
Gunvor Nelson
1969, 00:10:00
2
EMS nr 1
Ralph Lundsten
1966, 00:14:00
3
How Pure is The Journey?
Nadine Byrne
2012, 00:04:43
4
LIGHT YEARS
Gunvor Nelson
1987, 00:28:00
In collaboration with Filmform, we warmly invite you to “The Sound of Sweden”, an evening of experimental cinema that unfolds like a visual and sonic poem. The journey opens with My Name is Oona, Nelson’s final breakthrough on the American avant-garde scene, where Gunvor Nelson’s daughter recites the days of the week creating a loop engaging her name. The mood deepens with EMS No 1, an interplay of abstract sound and image challenging conventional film form. As the night progresses, How Pure is the Journey? invites you to experience the transformation of rituals into visual art. The experience finds its close with Light Years, which blends film with animation to evoke the rhythms of Sweden’s countryside.
Join us for an exploration where each film reveals its own perspective on time, sound, and image. Let’s celebrate an evening of Swedish experimental films. In presence of Andreas Bertman, producer and curator at Filmform.
Filmform (est. 1950) is dedicated to preservation, promotion and worldwide distribution of experimental film and video art. Constantly expanding, the distribution catalogue spans from 1924 to the present, including works by Sweden’s most prominent artists and filmmakers, available to rent for public screenings and exhibitions as well as for educational purposes. /Filmform
My Name is Oona was Nelson’s final breakthrough on the American avant-garde film scene. The sound consists of Nelson’s daughter, Oona, repeating the names of the days of the week and of her saying “my name is Oona”. The latter is edited into an expressive rythmical structure that accompanies the visual structure of the film that plunges into the experience of a child.
EMS No 1 is an abstract sound/image composition where sound and image were composed together, the first in an experimentation project at Swedish Television. The robot’s voice in the beginning of EMS nr 1 was recorded at the Swedish Transmission Laboratory at the Royal Institute of Technology. EMS nr 1 was included in a feature film, Psychadelica Blues, where the EMS-parts got to represent the psychadelic experiences. EMS nr 1 received the main award at the Art Biennial in Paris, 1967, The Swedish Film Institute’s Quality Prize 1966 and also about thirty international film awards.
How Pure is the Journey? continues Byrne’s cinematic work focusing on the different parts and functions of the ritual. In this film, the transformative act of the ritual is a short closing sequence, instead it is all the preparations leading up to this act that we witness. Two women perform a chain of actions; first, flowers, plants and vegetation are picked. These are then used to dye pieces of fabric. Further on the pieces of fabric are put together and sewn by hand into a larger piece of fabric. A ritual object has been created. But where does one draw the line for when the ritual begins or ends?
Light Years is the second film of Nelson’s remarkable series of collage films in which she is blending animation with live-action. Frame Line (1983) that was the first, evolved around Stockholm and Sweden, and with Light Years Nelson expanded into the Swedish countryside and landscape. The film is a long journey through landscapes and images, an ingenious road-movie in which Nelson encourages the viewer to look and to listen.
Furthermore, we would like to draw attention to “Schwedenbilder at the Austrian Filmmuseum” on April 16th-17th.
16mm film screening with Richard Tuohy & Dianna Barrie
Filmform and independent film curator Martin Grennberger are pleased to present a 16mm screening with Australian duo Richard Tuohy and Dianna Barrie. They are internationally known for their handcrafted films which are distinguished by inventive in-camera techniques, unconventional approaches to the projector, and experimental explorations of filmstrips, print stocks and darkroom processes. They are also founders of the artist-run film lab nanolab, which specializes in small gauge film processing. Tuohy and Barrie’s work encompasses both expanded cinema and single screen presentations, and the screening at Filmform will present a selection of single screen works from 2019-2025. Sonically elaborate, often with an emphasis on structure and process, these are films that viscerally enhance, complexify and revitalize the dynamic relations between form and content.
PLEASE NOTE:
Doors open at 6.30, the screening starts at 7PM. The ticket price is 60 SEK. RSVP to info@filmform.com in order to book a ticket. First come, first served. Limited amount of seats.
PROGRAMME:
In and Out a Window, 2021, 12 min
Mesmo Rio – Same River, 2019, 7 min
Self-portrait with Bag, 2020, 6 mins
Tooborac, 2025, 9 min
Nude, Descending, 2025, 9 mins
Fear of Floating, 2024, 7 mins
The Land at Night, 2024, 14 mins
Total running time: 64 min
All films above by Richard Tuohy and Dianna Barrie. The programme will be introduced by Martin Grennberger in conversation with Richard and Dianna.
ABOUT THE FILMMAKERS:
Richard Tuohy (b. 1969, Melbourne) began making works on super 8 in the late nineteen eighties. His films have screened at venues including the Melbourne IFF, EMAF (Osnabruck), Rotterdam IFF, New York FF, Ann Arbor and Media City and he has toured Europe, the Americas and Asia presenting solo programs of his work. His works are firmly in the ‘hand-made’ film tradition. An advocate for the possibilities of hand made cinema, Tuohy has devoted much time and effort in sharing his knowledge through workshops and classes both in his native Australia and internationally.
Dianna Barrie (b. 1972, Melbourne) found her way into filmmaking as a middle ground between the pursuit of abstract music and philosophy. Ever pushing the limits of the hand processing of super 8 led to the establishment of nanolab with Richard Tuohy, and into the intersection of hand making and industrial cinema technology. This exploration has spread beyond individual work to the establishment of Artist Film Workshop, where celluloid is embraced and advocated by a community of practitioners in Melbourne.
ABOUT THE FILMS:
In and Out a Window, 2021, 12 min
Our front window, from inside and out. Made during a long covid lockdown. A product of the distraction and abstraction that resulted from a lot of staring at the same pieces of glass.
Mesmo Rio – Same River, 2019, 7 min
Rocks become sand become rocks become sand. All life is life on the beach. You can never step into the same river, or walk the same city, twice.
Self-portrait with Bag, 2020, 6 min
A camera-less portrait of the artist. Super 8 cartridges placed inside a black cotton bag, the film advanced via a hand crank. The tiny gaps in the fabric weave make for dozens (hundreds? thousands?) of tiny pinholes.
Tooborac, 2025, 9 min
Granite tors scattered over 20 square kilometers around Tooborac in central Victoria dance in ecstatic celebration of their own endurance.
Nude, Descending, 2025, 9 min
A performer descends the stairs. Direct film mattes frame glimpses of the motion. Phase-looping duplicates the glimpses into a cascade of humanity. A game played with colour separations, motion following hand scratched and painted mattes and a perpetual descending figure.
Fear of Floating, 2024, 7 min
Humanity approaches in an ineluctable wave of uncertainty and hope. A ferry crossing in Mumbai stands here for all such places and times of human expansion and human vulnerability.
The Land at Night, 2024, 14 min
I used to find the dusk a very unsettling time, as though the approaching night was something to be feared. It was as if, once night fell you could not flee, and had to face unspecified consequences. Maybe the land
remembers and the night will reveal what we might have done…
True to Life at Courtisane Festival in Belgium
Courtisane Festival 2025
True to Life by Gunvor Nelson is in the Courtisane Festival 2025, April 2nd-6th. The film is included in the programme “Short films” of the section “Still There Are Seeds to Be Gathered” and will be screened on Saturday, April 5th. Curated by Ditte Claus.
Film programme:
Work distributed by Filmform
TRUE TO LIFE
Gunvor Nelson
2006, 00:38:00
Gunvor Nelson in Madrid
Filmoteca Española, Madrid
Filmoteca Español in Madrid, Spain, honours the newly deceased avantgarde artist Gunvor Nelson by a four-day programme. The selected films are divided in four sections: “The Big 60s” (years 1967-1972), “Sensorial materiality” (years 1973-1994), “Returning to Kristinehamn” (years 1979-1991 in Nelson’s birth town), and “Towards the Image” (years 1983-1988). Curated by John Sundholm and Julia Mettenleiter.
Programme:
Works distributed by Filmform
1
TAKE OFF
Gunvor Nelson
1972, 00:10:00
2
FOG PUMAS
Gunvor Nelson & Dorothy Wiley
1967, 00:25:00
3
MY NAME IS OONA
Gunvor Nelson
1969, 00:10:00
4
MOONS POOL
Gunvor Nelson
1973, 00:15:00
5
BEFORE NEED REDRESSED
Gunvor Nelson & Dorothy Wiley
1994, 00:42:00
6
RED SHIFT
Gunvor Nelson
1984, 00:50:00
7
TIME BEING
Gunvor Nelson
1991, 00:06:00
8
FRAME LINE
Gunvor Nelson
1983, 00:22:00
9
LIGHT YEARS
Gunvor Nelson
1987, 00:28:00
10
FIELD STUDY #2
Gunvor Nelson
1988, 00:08:00
Konstväxlingar programme at Spårvägsmuseet, part III: Leo Reis
Spårvägsmuseet logotyp
In addition to Skanstull metro station screening, the Konstväxlingar programme will be mirrored at Spårvägsmuseet in Stockholm. From April 1st to 8th, Leo Reis’ Metamorfoser will be visible at two different places at the same time, on a continuous loop.
Programme:
Work distributed by Filmform
Metamorfoser
Leo Reis
1961, 00:14:00
IN SWEDISH
MY NAME IS OONA på Handelshögskolan
Handelshögskolan i Stockholm logotyp
Handelshögskolan i Stockholm fortsätter att visa verk från Filmform inom ramen för sitt Art Initiative. Under hela april visas Gunvor Nelsons MY NAME IS OONA i loop. Från Filmform visades tidigare Kinchen av Måns Månsson samt Elitakrobaten och På tunnelbanan av Catti Brandelius inom ramen för samma konstprogram. Curaterat av Tinni Ernsjöö Rappe.
Filmprogram:
Verk ur Filmforms distributionskatalog
MY NAME IS OONA
Gunvor Nelson
1969, 00:10:00
IN SWEDISH
EADNI till Östersund i program om samisk mytologi
Folkets Bio Regina Östersund
Liselotte Wajstedts EADNI är ett av verken “Allt talar: samisk mytologi och naturens kraft i tre konstfilmer”. Visningen äger rum på Folkets Bio Regina i Östersund lördagen den 29 mars och efterföljs av ett samtal. Filmprogrammet är curaterat av Anneli Bäckman och är ett samarbete mellan mellan Gaaltije Saemien Museume, Jamtli, Jämtlands läns konstförening, Filmpool – Kultur i Jämtland Härjedalen och Folkets Bio Regina.
Filmprogram:
Verk ur Filmforms distributionskatalog
EADNI
Liselotte Wajstedt
2023, 00:07:00
I tre konstfilmer av de samiska filmskaparna Marja Helander, Liselotte Wajstedt och Sissel M Bergh möter vi tre kvinnliga mytologiska väsen ur den samiska berättartraditionen. I sägnerna talar de från en djup samhörighet med naturen. Vad hör vi om vi lyssnar?
Efter filmvisningen sker ett samtal mellan konstnären och filmskaparen Sissel M Bergh, Patricia Fjellgren, samisk kulturarbetare och Anneli Bäckman, curator på Gaaltije Saemien Museume.
EADNI
Liselotte Wajstedt
7:00 min. (2023)
Háldi är ett skogsväsen som sägs locka barn in i skogens djup. Men är hon bara en del av samisk mytologi, eller är hon lika verklig som du och jag? Vem är hon egentligen, och varför skulle hon vilja locka barn ut i skogen? EADNI, som betyder mor, är en visuellt mångbottnad saga som väcker eftertanke. I berättelsen om Háldi ryms en skapelseberättelse med hoppet om att vi ska skydda naturen och säkerställa att den eviga cykeln fortsätter. Den oändliga sagan om livets innersta väsen.
Liselotte Wajstedt är en multimediakonstnär och filmskapare från Giron/Kiruna, bosatt och verksam i Stockholm. Hennes konstnärskap rymmer film och video, collage, måleri, fotografi, skulptur, textil och installation.
Programmet är ett samarbete mellan Gaaltije Saemien Museume, Jamtli, Jämtland läns konstförening, Filmpool – Kultur i Jämtland Härjedalen och Folkets Bio Regina.
Gunvor Nelson at Cinematheque Seoul Art Cinema
Cinematheque Seoul Art Cinema
Cinematheque Seoul Art Cinema celebrates Gunvor Nelson on Thursday, March 27th. The programme offers a selection of films, including the avantgarde filmmaker’s breakthrough Schmeerguntz, My Name Is Oona which is based on her daughter’s talk, and Nelson’s commemoration of her mother titled Time Being. Curated by Pip Chodorov.
Programme:
Works distributed by Filmform
1
SCHMEERGUNTZ
Gunvor Nelson & Dorothy Wiley
1966, 00:15:00
2
MY NAME IS OONA
Gunvor Nelson
1969, 00:10:00
3
TAKE OFF
Gunvor Nelson
1972, 00:10:00
4
MOONS POOL
Gunvor Nelson
1973, 00:15:00
5
LIGHT YEARS EXPANDING
Gunvor Nelson
1988, 00:25:00
6
TIME BEING
Gunvor Nelson
1991, 00:06:00
Filmform in collaborative project at Marabouparken
All My Dreams Have Come True
“All My Dreams Have Come True” is a collaboration between Filmform and Soft Fiction Project, an initiative run by an artist duo from Northern Ireland. The aim of the event is to reflect upon the space of intersections between science and the human essence. The evening on Wednesday, March 26th, commences with Motions of Electrons (1952) by Billy Klüver. After that, the screening of works from Filmform starts with Edy Fong’s Siliconic Superhighway, followed by films by Lina Selander, Katarina Löfström, Lars Siltberg and Annika Ström, whose All My Dreams Have Come True entitles the whole event. Edy Fung is the curator of the programme together with Alessia Cargnelli and Emily McFarland from Soft Fiction Project.
Programme:
Works distributed by Filmform
1
Siliconic Superhighway
Edy Fung
2023, 00:17:33
2
Lenin’s Lamp Glows in the Peasant’s Hut
Lina Selander
2011, 00:23:00
3
A Void
Katarina Löfström
2013, 00:08:36
4
Chronos - Kronos
Katarina Löfström
2023, 00:08:20
5
Visusomatic - Approach
Lars Siltberg
2003, 00:04:05
6
Visusomatic - Scrutinize
Lars Siltberg
2003, 00:14:45
7
All My Dreams Have Come True
Annika Ström
2004, 00:01:40
About the programme:
The incipit is the 1950s educational Disney-style animated film by Billy Klüver, where the motion of the electrons is explained for a wider audience. The film was produced as a substitute for Klüver’s doctoral thesis at the KTH Royal Institute of Technology of Stockholm. Animation is further developed in Edy Fung’s speculative visual and sonic fiction concerning silicon-based lifeforms and their evolution. Fung understands silicon not only as a physical material, but as a catalyst to pose ethical and existential questions, such as the role played by our (post)human bodies in a machine-dominated world.
Bringing the spectator back to human scale environments – from the lunar winter landscape of Kiev’s countryside to fossils – Lenin’s Lamp Glows in the Peasant’s Hut by Lina Selander presents multiple layers of narrative, starting from the 1986’s nuclear disaster in Chernobyl, Ukraine. Selander explores human life intended as a mechanism of social structures and ideological systems. In contrast, Katarina Löfström’s immersive, hypnotic works A Void and Chronos investigates the physical experiences of space (or lack thereof) and time through colour animation, sound and abstraction. To follow, the black & white Visusomatic – a film by Lars Siltberg shot in a laboratory for physical research – offers methods of intense observation. The film focuses on an ultra-high vacuum (UHV) system used to clear the air in the small chambers in which various tests on substances smaller than air particles take place. The slow, almost-surgical investigation of this technology goes from the macro to the granular, particles becoming pixels.
The programme concludes with Annika Ström’s poetic piece All My Dreams Have Come True, where the repeated trial and error mixes with the warmth and intimacy of personal relationships, perhaps alluding to the limitations and complexities of human nature.
Red shift at Grandma’s Grammar in Vilnius
Grandma's Grammar poster
Gunvor Nelson’s RED SHIFT opens up the Grandma’s Grammar evening on Saturday, March 22th, at Sapieha Palace in Vilnius, Lithuania. The screening is part of the “Moving Images” series and is dedicated to the presence of grandmothers in films. Curated by Inesa Brasiske and Elena Gorfinkel.
Programme:
Work distributed by Filmform
RED SHIFT
Gunvor Nelson
1984, 00:50:00
Grandmothers populate the body of non-fiction and experimental cinemas, and Grandma’s Grammar aims to point at the diversity of their appearance in historical and contemporary film practices.
Grandmothers are multiplicitous subjects, archives, and prisms for modes of sodality, solidarity and kinship. They are privileged subjects for the work of testimony, the construction of history, and of the lineage of women’s lived experience. And further the grandmother models alternative modes of perception, of thinking and feeling across alterity and horizons of historical experience.
Grandmothers have long been feminist filmic resources, a way to think laterally across generations, articulating a relationship to past traditions and temporalities, to social rituals, the historicity of gender and of patriarchy’s demands, and the witnessing of historical trauma and oppression. In this the grandmother also operates as a very specific proxy for the thickness and entanglement of any given story of lineage, inheritance, or the bequeathing of storytelling itself. What is narrated by the grandmother? And what does grandmother refuse to narrate? Such questions have long animated feminist historiography and theories of gendered and raced subjectivity, especially as the oral traditions and embodied knowledges transmitted across generations have sustained alternative narrations of history and History.
One of feminist history’s desires, untold, is the desire for the grandmother.
(Revised, expanded extract from Elena Gorfinkel, “Cinema of the Grandmother,” in E. Balsom and H. Peleg eds. Feminist Worldmaking and the Moving Image. MIT Press, 2022.)
The programme features films by Barbara Hammer, Gunvor Nelson, Chiemi Shimada, and Emilija Škarnulytė. Grandma’s Grammar is curated by Elena Gorfinkel, who will present the films in person. The event will be held in English.
PROGRAMME
Red Shift
Gunvor Nelson / 1984 / Sweden / 50:00
Oscillating between extreme proximity and distance, Red Shift is a film of domestic interiors, tactile details, and mutable intergenerational dynamics. Nelson, daughter Oona, and Oona’s grandmother, Carin Grundel, appear playing family roles. Two other actors represent a “past” of mother-daughter relations. They are tethered in a relay of extreme closeups and long shots: hands grasping and tending, creased flesh, polished silver, windowed views, resonant shards of time and memory, ritual and habit. Along with gnomic proverbs and snatches of banter, Edith Kramer is heard reading excerpts from over two decades of Calamity Jane’s late 19th century letters of regret to an estranged daughter. “The years have slipped by…” In a multivalent work of generational transmission, Jane’s lamentations yoke motherhood’s psychic freight to a vaster temporal horizon.
Optic Nerve
Barbara Hammer / 1985 / USA / 16:00
Aldona
Emilija Škarnulytė / 2013 / Lithuania / 16:00
Chiyo
Chiemi Shimada / 2019 / Japan, UK / 13:00
Ulrika Sparre’s film at University of Oldenburg
University of Oldenburg
Ear to the Ground (Wandering Rocks) by Ulrika Sparre will be screened at the University of Oldenburg on Thursday, March 20th. The film is part of the course “Geological Media” (“Medien der Geologie”) held by professor Petra Löffler at the University of Oldenburg.
Programme:
Work distributed by Filmform
Ear to the Ground (Wandering Rocks)
Ulrika Sparre
2020, 00:09:04
Moons Pool in Zagreb programme celebrating women
25 FPS Association
Gunvor Nelson’s Moons Pool is one five films in “Visions: Loud Echoes”, a programme to showcase as many fantastic female filmmakers. The screenings take place at Kinoteka in Zagreb on Tuesday, March 18th, and is hosted by 25 FPS, a Croatian association for promoting short and experimental films. Curated by Nika Petković.
Programme:
Work distributed by Filmform
MOONS POOL
Gunvor Nelson
1973, 00:15:00
Gunvor Nelson programme at SF Cinematheque
SFC Remembering Gunvor Nelson
The avant-garde filmmaker Gunvor Nelson, who recently passed away, is celebrated at San Francisco Cinematheque. The programme “Trace Elements: Remembering Gunvor Nelson” features a selection of works from 1966 to 1998, kindly provided by Filmform and Canyon Cinema.
Programme:
Works distributed by Filmform
1
TREE-LINE
Gunvor Nelson
1998, 00:08:00
2
MOONS POOL
Gunvor Nelson
1973, 00:15:00
3
SCHMEERGUNTZ
Gunvor Nelson & Dorothy Wiley
1966, 00:15:00
4
MY NAME IS OONA
Gunvor Nelson
1969, 00:10:00
5
TIME BEING
Gunvor Nelson
1991, 00:06:00
6
LIGHT YEARS
Gunvor Nelson
1987, 00:28:00
Gunvor Nelson (née Grundel: b. July 28, 1931; d. January 6, 2025) grew up in Kristinehamn, Sweden. Her mother was a teacher and her father was the owner and editor-in-chief of the local newspaper, Kristinehamns-Posten. On leaving school she studied at the University College of Arts, Crafts and Design in Stockholm, but moved to the US and California in 1953 to study art and art history. Nelson met her husband-to-be Robert Nelson when she was studying at the California School of Fine Arts (later known as the San Francisco Art Institute; SFAI). The Nelsons were a vital part of the new film culture that evolved in the San Francisco Bay Area and played a key role in the establishment of Canyon Cinema. Nelson subsequently taught filmmaking at SFAI 1970–1992, moving back to Kristinehamn in 1993. On her return Nelson quickly began working in digital video and was rediscovered in Swedish art circles, resulting in a number of awards and retrospectives both at home and abroad.
Semesterhemmet at Bergamo Film Meeting
Bergamo Film Meeting 43
Birgitta Jansson’s awarded claymation Semesterhemmet will be screened in the Bergamo Film Meeting 43, which is held in March 8th-16th. The event takes place on the first day of the festival in section “Animation Cinema: AnReal”. Curated by Diana Cardani.
Programme:
Work distributed by Filmform
Semesterhemmet
Birgitta Jansson
1981, 00:14:00
Gunvor Nelson’s first two films in Paris
Cinédoc Paris Films Coop logo
The US-based Canyon Cinema cooperation is celebrated in Paris by a screening of some of their most influential works, among them Gunvor Nelson’s debut film Schmeerguntz and the subsequent My name is Oona. The event is part of the series “Refle-x-périmental”, organized by the association Cinédoc Paris Films Coop. It takes place on Thursday, February 27th, at the cinema Reflet Médicis, and is curated by Bárbara Janicas.
Programme:
Works distributed by Filmform
1
SCHMEERGUNTZ
Gunvor Nelson & Dorothy Wiley
1966, 00:15:00
2
MY NAME IS OONA
Gunvor Nelson
1969, 00:10:00
IN SWEDISH
Gästföreläsning med verk ur Filmform på HK-Valand
Ännu en serie verk från Filmform visas för studenter på HDK-Valand. Visningen ingår i programmet “Materiality and Experimental Aesthetics” och utforskar de teman som Mirka Dujin och Daniel Jewesbury utforskar inför sina kommande utställningar.
Filmprogram:
Verk ur Filmforms distributionskatalog
1
Hej natur
Ralph Lundsten
1966, 00:08:00
2
Graders ökning
Christine Ödlund
2003, 00:04:13
3
Where the snow-fed Rio del Llano met the edge of the desert
Maria Magnusson
2023, 00:04:56
4
Interbeing
Martina Hoogland Ivanow
2018, 00:10:40
5
Studie II/Hallucinationer
Peter Weiss
1952, 00:05:19
6
I Am Other (Candy & Me)
Conny Karlsson Lundgren & Andy Candy Tsolakidis
2008, 00:10:10
7
2011 12 30
Leontine Arvidsson
2013, 00:02:53
8
TAKE OFF
Gunvor Nelson
1972, 00:10:00
We now continue Materialities of the moving image, a series of film screenings within the framework of the HDK-Valand research cluster Materialities and Experimental Aesthetics.
This time we show more titles from Filmform’s archive, including works by Gunvor Nelson, Maria Magnusson, Peter Weiss and Conny Karlsson Lundgren.
This screening explores themes that Mirka Duijn and Daniel Jewesbury, teachers at HDK-Valand, are developing for upcoming solo exhibitions in Gothenburg.
All students at HDK-Valand are welcome!
The Good Terrorist in London
Designoftimes
Marie Karlberg’s The Good Terrorist is one of the films in “Designoftimes”, a group exhibition of contemporary art at Gallery 3236RLS/Le Bourgeois. It is screened daily during February 25th-March 1st and open to the public. Curated by Jacques Rogers.
Programme:
Work distributed by Filmform
The Good Terrorist
Marie Karlberg
2021, 01:01:00
IN SWEDISH
Kortfilmsprogram på GIBCA i samarbete med Filmform
GIBCA
Måndagen den 24 februari visas sex filmer från Filmform i ett kortfilmsprogram inför GIBCA – Göteborg International Biennal for Contemporary Art som hålls i november 2025. Röda Sten Konsthall står bakom evenemanget som äger rum på Stadsbiblioteket i Göteborg. Ansvarig är Ellie Engelhem.
Filmprogram:
Verk ur Filmforms distributionskatalog
1
Säj något snällt FITTA!
Roxy Farhat
2020, 00:19:26
2
Twerka för Jemen
Tanja Holm
2023, 00:10:05
3
Russelltribunalen
Staffan Lamm
2006, 00:09:27
4
It did happen soon
Annika Eriksson
2012, 00:15:11
5
I Think of Silences When I Think of You
Jonelle Twum
2023, 00:09:00
6
The Artist’s Song
Lilibeth Cuenca Rasmussen
2007, 00:04:20
Get off by Elin Magnusson in Ljubljana
Kinodvor City Cinema logo
On Valentine’s Day, Elin Magnusson’s first work distributed by Filmform – Get Off – will spice up the night of erotic film at Kinodvor cinema in Ljubljana. The programme “Retrosex” is curated by Maša Peče.
Programme:
Work distributed by Filmform
Get Off
Elin Magnusson
2009, 00:06:00
IN SWEDISH
Verk av Jonelle Twum på Stockholms universitet
Stockholms universitet
Jonelle Twums I Think of Silences When I Think of you visas fredagen den 14 februari på kursen “Rörliga bilder i genusperspektiv”, som ges av professor Malin Wahlberg.
Filmprogram:
Verk ur Filmforms distributionskatalog
I Think of Silences When I Think of You
Jonelle Twum
2023, 00:09:00
Filmform at IFFR 2025
Poster: Keyhole Conversation
This upcoming week, a number of Filmform related activities will be taking place at the 2025 edition of International Filmfestival Rotterdam (IFFR).
Together with our international colleagues within the distributor network DINAMO (Distribution Network of Artists’ Moving Image Organizations), Filmform will participate in one of the two joint programmes. A cinema screening and following presentation of DINAMO, its members and the films, will be held at KINO 4 on Friday, January 31th starting 3PM in the programme Embodiment. For this programme Filmform presents the film Acting Woman (2017) by Roxy Farhat. The programme will be introduced by Filmform’s Anna-Karin Larsson and Andreas Bertman.
DINAMO: Embodiment
Friday, January 31th, 3PM. KINO 4, Programme: Embodiment
Acting Woman
Roxy Farhat
2017, 00:05:04
We are excited to share that the film Keyhole Conversation (2025) by Peter Larsson, distributed by Filmform, will have its world premiere at IFFR in the Short & Mid-length section programme (Un)domesticated. Peter Larsson and representatives from Filmform will be present at the premiere night at KINO 3 on Sunday, February 2nd, starting 4.15 PM.
World premiere! Keyhole Conversations
Sunday, February 2nd, 4.15PM. KINO 3, Programme: (Un)domesticated
Keyhole Conversation
Peter Larsson
2025, 00:05:33
3 x Salad Hilowle at the Black Europe Film Festival in Minneapolis, USA
BEFF 2025 logo
The Black Europe Film Festival of Minneapolis/Saint Paul, January 30th – February 2nd, 2025, features three works by Salad Hilowle. Sylwan is the director’s latest film and is screened before the opening of the festival as part of a workshop with Salad Hilowle himself on Wednesday, January 29th, at 6:30pm. On the last day of the festival, Erinra and Vanus Labor are screened at 11am and 2pm, respectively. The films are included in two different programmes, and the director participates in the following panel/Q&A in both. Lorenzo Fabbri is the curator.
Programme:
Works distributed by Filmform
1
Sylwan
Salad Hilowle
2022, 00:15:20
2
Erinra
Salad Hilowle
2015, 00:08:00
3
Vanus Labor
Salad Hilowle
2021, 00:12:56
IN SWEDISH
Kinchen på Handelshögskolan
Handelshögskolan i Stockholm logotyp
Nästa verk från Filmform att visas inom Art Initiative på Högskolan i Stockholm är Måns Månssons Kinchen från 2005. I en anda av cinéma vérité skildrar filmmakaren sportkommentatorn Lasse Kinch under Hockey-VM i Tjeckien. Tidigare visades två andra verk från Filmform inom samma program: Elitakrobaten och På tunnelbanan av Catti Brandelius. Curaterat är Tinni Ernsjöö Rappe.
Filmprogram:
Verk ur Filmforms distributionskatalog
Kinchen
Måns Månsson
2005, 00:31:47
Filmform at Göteborg Film Festival
Poster: The New Policy Regarding Homeless Asylum Seekers
Filmform is honored that two recent acquisitions from the distribution catalogue will have their world premiere at Göteborg Film Festival this weekend. The New Policy Regarding Homeless Asylum Seekers by Dennis Harvey and Fear Fokol by Tuva Björk on Saturday 25th (12.45PM at Hagabion) respectively Sunday 26th (2PM at Draken). More information on the two films can be found below.
World Premiere!
Saturday, January 25th, 12:45PM, Hagabion
The New Policy Regarding Homeless Asylum Seekers
Dennis Harvey
2025, 00:14:28
Dennis Harvey: The New Policy Regarding Homeless Asylum Seekers (2025, 14:28 min)
The New Policy Regarding Homeless Asylum Seekers is a follow-up to the Swedish Academy award-winning The Building and Burning of a Refugee Camp (IDFA, 2024), which followed Sami, Simon and Hasiballah–three residents of an encampment for homeless asylum seekers which was burned down by a far-right mob in Dublin in 2023. In this film, we make the conscious decision to focus on the volunteer response to the latest policy for homeless asylum seekers, rather than focussing on the asylum seekers themselves. In early 2024, the Irish government ceases to provide accommodation to all asylum seekers for the second time. While funding charities to provide tents to homeless asylum seekers, the government simultaneously orders the authorities to prevent the asylum seekers from pitching these tents.
In the film, we follow Olivia and her small group of predominantly female volunteers, who spend their mornings and evenings on the streets of Dublin helping homeless asylum seekers try to find a safe place to sleep each night. The volunteers and asylum seekers alike face constant harassment from both far-right politicians and the police.
Team:
Director: Dennis Harvey
Cinematographer: Dennis Harvey
Producer: Elisabeth Marjanović Cronvall
Graphic designer: August Håkansson
Colorist: Martin Steinberg
Sound design: Thomas Jansson
VFX: Lova Gadd
Distribution: Filmform
World Premiere!
Sunday, January 26th, 2PM, Draken.
Fear Fokol
Tuva Björk
2025, 00:15:00
Tuva Björk: Fear Fool (2025, 14:50 min)
A light kept on to deter makes it hard to see past your reflection. In Fear Fokol, we take a nightly ride into the fears and anxieties of Johannesburg’s wealthy inhabitants by following the work of the private security guards hired to protect them. The illusion of security slowly dissolves as we dig into a fragile climate of inequality, paranoia and masculinity in crisis.
Team:
Director: Tuva Björk
Producer: Dennis Harvey
Screenplay: Tuva Björk
Cinematographers: Tuva Björk, Sally Jacobson
Editors: Tuva Björk, Neil Wigardt
Music: Sanele Ngubane
Distribution: Filmform
IN SWEDISH
Gunvor Nelson firas på HDK-Valand i Göteborg
HDK-Valand logotyp
Gunvor Nelsons definitiva genombrott kom med My name is Oona, där hennes dotters röst utgör stommen i filmens experimentella ljudspår. Filmen visades på Bio Valand för knappt ett år sedan och visas nu igen i ett större sammanhang, omgiven av föreläsningar, happeningar och seminarier på Högskolan för konst och design i Göteborg. Evenemanget är curaterat av Daniel Jewesbury.
Filmprogram:
Verk ur Filmforms distributionskatalog
MY NAME IS OONA
Gunvor Nelson
1969, 00:10:00
IN SWEDISH
Bokrelease och filmvisning: Five Fabulous Female Filmmakers
Omslag, Five Fabulous Female Filmmakers
Varmt välkommen till Stockholmsreleasen av Maria Magnussons nya bok Five Fabulous Female Filmmakers – Experimental Film and Artist Practice in Conversation with Gunvor Nelson, Lisa Marr, Terra Long, Caroline Monnet and Olga Spiegel. Under evenemanget på Filmform visas även filmen Peace (2024, 3 min) av Maria Magnusson och Lisa Marr. DJ Bruce Leenus väljer musiken under kvällen.
Datum: Tisdagen den 21januari
Tid: Dörrarna öppnas 17.30. Introduktion och samtal om boken inleds 18.00. Musik med Bruce Leenus innan och efter bokpresentationen.
Plats: Filmform, Svarvargatan 2, Stockholm
T-bana: Fridhemsplan
Fri entré, ingen föranmälan krävs.
Maria Magnusson om boken Five Fabulous Female Filmmakers:
2018 träffade jag Gunvor Nelson under några tillfällen i hennes hem och ateljé i Kristinehamn. Vi hade mycket att prata om och dessa möten utmynnade i ett längre samtal om processer och tankar kring konst och experiementfilm. Jag fick då en idé om att bjuda in internationellt verksamma kvinnliga filmare som verkar i denna tradition. Att i dialog be dem att dela med sig av sina tankar i ämnet. Filmskaparna jag har valt, representerar olika generationer men delar en kärlek till det analoga filmformatet och experimentell film. De är alla personer som jag inspirerats av på olika sätt men också mött och samarbetat med. 2013 deltog jag i Independent Imaging Retreat (mer känt som Film Farm) i Mount Forest i Kanada, grundat av Philip Hoffman och Marian McMahon. Där blev jag förälskad i analoga experimentella filmiska processer och mötte Lisa Marr, Terra Long och Caroline Monnet för första gången. Kai Ephron var artist in residence på Konstepidemin 2023 och arbetade med filmprojektet The Wheelbarrow. Han presenterade mig för sin mamma; Olga Spiegel.
Konstnären och den experimentella filmaren Gunvor Nelson är en av de mest inflytelserika kvinnliga filmskaparna inom rörelsen New America Cinema. Hon flyttade till USA redan på 1950-talet och undervisade fram till 1992 i film vid legendariska San Francisco Art Institute och flyttade därefter tillbaka till Sverige där hon bodde fram till sin död 2025. Lisa Marr är en musiker, låtskrivare, filmskapare, fotograf, och utbildare från Vernon, British Columbia, Kanada, medlem av EPFC Collective i Los Angeles och EPFC North i Vancouver. Terra Long är en kanadensisk filmskapare och medlem i Independent Imaging Retreat (The Film Farm) och F4A Collective. Caroline Monnet är en Anishinaabe franskkanadensisk bildkonstnär och filmskapare. Olga Spiegel är en psykedelisk målare och filmskapare. Hon utbildade sig i Europa innan hon etablerade sig som konstnär i New York. Olga Spiegel var en av originalmedlemmarna i Women Artist Filmmakers (WAF 1974-1981 i N.Y.).
Maria Magnusson om filmen Peace:
Peace utgår från ett funnet filmmaterial på Super 8, och är ett samarbete mellan mig och Lisa Marr. Jag bad Lisa att läsa in ordet fred på 17 olika språk: engelska, spanska, franska, tyska, italienska, holländska, svenska, ryska, polska, ungerska, grekiska, turkiska, arabiska, hebreiska, persiska, hindi och urdu. Filmen kan bland annat ses som en kommentar i en tid när fredsröster fått stå tillbaka och upprustning pågår runt om i världen.
Filmprogram:
Verk ur Filmforms distributionskatalog
PEACE
Maria Magnusson
2024, 00:03:00
IN SWEDISH
Scented Rooms i Botkyrka konsthall
Scented Rooms (Shauheen Daneshfar, 2023)
Shauheen Daneshfars Scented Rooms visas i loop i Botkyrka konsthall i den tredje avslutande delen av utställningen “Vi är flöden från alla håll, från alla håll möts vi”, vars titel är ett citat ur själva filmen. Ytterligare två verk från Filmform ingår i utställningen. I den första delen av utställningen 26 oktober – 6 december visades Jinnah Cricket Club av Jesper Nordahl. I den andra, som pågick mellan 7 december 2024 och 17 januari 2025, visades I Think of Silences When I Think of You av Jonelle Twum. Temat för utställningen är behovet av att skapa gemenskaper och tystnader som uppstår ur olika livssituationer; curatorn är Mini Davarasl.
Filmprogram:
Verk ur Filmforms distributionskatalog
Scented Rooms
Shauheen Daneshfar
2023, 00:30:00
Konstväxlingar programme at Spårvägsmuseet, part II
Spårvägsmuseet logotyp
In addition to Skanstull metro station screening, the Konstväxlingar programme will be mirrored at Spårvägsmuseet in Stockholm. From January 2nd to 9th Petra Lindholm’s Bystanders will be visible at two different places at the same time, on a continuous loop.
Programme:
Work distributed by Filmform
Bystanders
Petra Lindholm
2020, 00:15:57
Konstväxlingar Skanstull, Part II: Petra Lindholm
Konstväxlingar på Skanstull
Since 2004 video art accompanies passengers at Skanstull metro station. This winter, Petra Lindholm’s Bystanders will be on display for the Konstväxlingar programme, presented by Ulrika Lublin. The film will be screened on loop from January 1st to March 31th.
Programme:
Work distributed by Filmform
Bystanders
Petra Lindholm
2020, 00:15:57