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DMZ국제다큐멘터리영화제

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History

5th DMZ Docs(2013)

I AM DOCU



Reconversion

Thom Anderson

  • Portugal
  • 2012
  • 65min
  • HD
  • color

Synopsis

Reconversion directed by Thom ANDERSON is a film about the world of Eduardo Souto DE MOURA’s architectures. Introducing representative works of architectures of Eduardo who is a winner of Pritzker Architecture Prize which has been called the Nobel Prize of architecture, the architect himself explains his world of own architectures as a narrator. In this film, Thom ANDERSON does not only introduce the world of great architect, but also makes it correspond to the world of his film work. The most distinguishing feature of Reconversion is the application of the ‘Time Lapse technique’. Time lapse is a technique which the camera records images at a slow interval, around a couple of frames every thirty seconds. It is usually used to observe the movements of the heavenly bodies or record the construction process of a high-rise building or a large vessel. The footage of Reconversion, which is filmed using a wide range of time-lapse technique, actually looks unnatural and discontinuous comparing to normal films recorded at 24 frames per one second. Then, why did he choose this particular technique? If you think of the fact that he directed Eadweard Muybridge, Zoopraxographer in 1974 and his former works have questions about the film media itself, time lapse technique used in Reconversion can be explained as the meaning for the exploration of the beginning of motion picture such as chronophotography from Etienne-Jules MAREY, or sequential photographs of Eadweard MUYBRIDGE. In addition, time lapse is a very appropriate technique to display the main subject of this film, which are stones, buildings, ruins and so on, in the way that the technique can show the objects with condensed time. A piece of stone or a building exist in different times that humans cannot experience. In this respect, the work of Thom ANDERSON that builds one film accumulating each frame as the fruit of the condensed time, is quite the same as the work of the architect which completes solid structure, gathering hundreds of thousands of year old stones or stones from over millions of years ago. (KIM Yi-seok)

Director

  • Thom Anderson

    A Train Arrives at the Station (2016)California Sun (2015)The Tony Longo Trilogy (2014)Reconversão (2012) The Thoughts That Once We Had is a personal history of cinema, partly inspired by Gilles Deleuze’s The Movement-Image and The Time-Image (quotations from these books appear intermittently) and partly by my discovery of the classic Hollywood musical comedy, occasioned by a That’s Entertainment marathon on Turner Classic Movies the night of December 31, 2013-January 1, 2014. Perhaps little of these inspirations remain in the film, but it is certainly a personal history of cinema. Of course, many others are possible, and anyone’s history is as valid as mine.A working title was “Great Moments in the History of Cinema,” but the movie outgrew this title. It became more ambitious. It found a form that satisfied me.The title is not meant to imply that cinema is dead. On the contrary: all art today aspires to the condition of cinema. Instead, the title suggests that moving images and sounds are thoughts in themselves because motion pictures are not perceived, they are remembered.The Thoughts That Once We Had tells more than I know, although I learned a number of material facts about cinema and my relation to cinema while making it: few film-makers are capable of making what Deleuze calls an “affection-image,” an image that imprints the face as a pure affect; the melody of the gaze is also rare; the more grounded the camera, the better (what Joris Ivens taught); a shot from The Eleventh Year by Dziga Vertov anticipates Wavelength; reading aloud is the most cinematic of all actions; my interest in cinema is more carnal than I realized; what interests the camera is not a given, but something the camera discovers anew for every shot. Other thoughts will be given to other viewers.This may all sound a bit formidable, but I also intended to bring a touch of American vulgarity to the so-called “essay film.” The movie was not calculated to drive liberals crazy; it just turned out that way​ 

Credit

  • ProducerDario OLIVEIRA
  • Cinematography Peter Bo RAPPMUND
  • Music Adam R. LEVINE, Christine CHANG, GNR
  • Sound Christine CHANG

PRODUCTION COMPANY & WORLD SALES

PRODUCTION COMPANY & WORLD SALES   Curtas Metragens CRL

Tel  351 252 646683

E-mail  agencia@curtas.pt​