A premonition of a horror film, lurking danger: A house - at night, slightly tilted in the camera's view, eerily lit - surfaces from the pitch black, then sinks back into it again. A young ... See full summary »

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A premonition of a horror film, lurking danger: A house - at night, slightly tilted in the camera's view, eerily lit - surfaces from the pitch black, then sinks back into it again. A young woman begins to move slowly towards the building. She enters it. The film cuts crackle, the sound track grates, suppressed, smothered. Found footage from Hollywood forms the basis for the film. The figure who creeps through the images, who is thrown around by them and who attacks them is Barbara Hershey. Tscherkassky's dramatic frame by frame re-cycling, re-copying and new exposure of the material, folds the images and the rooms into each other. It removes the ground from under the viewer's feet and splits faces, like in a bad dream. From the off, from outer space, foreign bodies penetrate the images and cause the montage to become panic stricken. The outer edges of the film image, the empty perforations and the skeletons of the optical sound track rehearse an invasion. They puncture the anyway ... Written by Sixpack Film <office@sixpackfilm.com>

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1999 (Austria)  »

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Eshatos topos  »

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Programming the Psychodrills
31 January 2009 | by (Greece) – See all my reviews

Peter Tscherkassky is an Austrian avant-garde filmmaker who works exclusively with found footage. All of his work is done with film and heavily edited in the darkroom, rather than relying on technological modes. This is his second short film in his Cinemascope trilogy, and it is a longer version of the previous entry, Le Arrivee, with all the skullf-ckery and aural destruction amplified tenfold. It starts off with a mystifying shot of a house bathed in stark noirish atmosphere pulsating and trembling as though with energy of its own, like something culled from a Robbe-Grillet film and pushed through a meat-grinder. A woman enters the house. The house soon transforms into a swirling hell, as though pulled and stretched into another dimension with time and space ripping apart in the seams. At some point we're looking at formless chaos, wave after wave of white noise washing over the screen, rolls of film tortured, an epileptic symphony of power electronics conjuring sheer cacodemony. It is a strange thing to behold, this nine minute short, definitely harsh and uninviting but worth a watch for the adventurous viewer.


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