The Forking Paths season looks at the unusual through 9 titles that break with conventions and stand on the sidelines of reality on terrains that go beyond the fantasy genre, science fiction or magic realism.
As happens in Borges’s stories, in all the films that make up this season reality gives ground at some point, to wander along forking paths and travel unknown, unusual folds in time and space.
The titles that make up this section are Happy Times Will Come Soon, de Alessandro Comodin; The Ornithologist, by Joâo Rodrigues; A Brief Excursion, by Igor Bezinovic; All the Cities of the North, by Dane Komljen; Cosmos, by the Polish director Andrzej Zulawski; Eternal Homecoming, by Kira Muratova; The Wolf from the Royal Vineyard Street, by Jan Nêmec; Funeral, by Boris Lehman and The Girl From Nowhere, Jean-Claude Brisseau.
The first years of the London Film-Makers co-op
SHOOT, SHOOT, SHOOT
“London Film-Makers’ Co-op about to be legally established STOP Objective to shoot shoot shoot shoot shoot STOP Never stop no bread no place to lay our heads no matter just mind if you want to make money STOP If you like Bryan Forbes STOP If you read Sight & Sound STOP If you want to make films I mean films come all you need is eyes in the beginning STOP Gen from 94 Charing Cross Road W.C.2. Parturition finished scream begin STOP”
That was the start of one of the most exciting centres of underground cinema ever known, destined to make history and transform the United Kingdom into one of the powerhouses of the avant-garde. In 1966 the London Film-Makers Co-op was born, an underground film workshop that would put the United Kingdom at the centre of avant-garde filmmaking. Mark Webber, programmer and theorist, is coming to the Seville Festival to present a sample that summarises the production in the first decade of this film factory. The films can be seen in their original 16mm format and in two sessions. The first consists of Portrait with Parents, by Guy Sherwin; Focus, by Peter Gidal; Shepherd’s Bush, by Mike Legget; Marvo Movie, by Jeff Keen; Sync Sound, by Mike Dunford; Still Life, by Jenny Okun; Deck, by Gill Eatherley; and Windowframe, by Roger Hewins. The second session includes Slides, by Annabel Nicolson; Footsteps, by Marilyn Bailey; Berlin Horse, by Malcolm Le Grice; Dresden Dynamo, by Lis Rhodes; Muybridge Film, by Anne Rees-Mogg; Film No. 1, by David Crosswaite; Colours of this Time, by William Raban; Seven Days, by Chris Welsby and Associations, by John Smith.