Harz Wim Liebrand (The Netherlands, 1996, video, 2:50)
A Mercedes which drives towards a wall but never crashes; picture postcards of the Harz mountains with rockets in !he air; snippets of marching music, a siren and a speech held in German: luckily Liebrand displays, with the help of collage and scratching, enough irony and absurdity to nip any unsavory explanations in the bud.

Six Weeks in June Stuart Hilton (GB, 1999, 35 mm, 6:oo)
Over a period of six weeks, Hilton drove 18,000 kilometers in a van, across the US and back, with a rock band, a pencil and a pile of A6 paper. His sketches formed the basis of this fluid animation film, which very strongly recalls the feeling of being on the road. Security cameras, guitars, telephones, signposts, landscapes, floor plans of motel rooms: in both written as well as drawn form, a host of impressions races by. The fact that these impressions can be eminently subjective ones is evidenced by the cactuses which morph into ejaculating penises. With snippets from conversations and local radio stations, the soundtrack completes the feeling of traveling.

Hong Kong (HKG) Gerard Holthuis (The Netherlands, 1999, 35 mm, 14:00)
A portrait of Hong Kong in the shadow of the local air traffic. Kai Tak Airport, located in the middle of the city, was closed down last year, but Holthuis was still able to film the low-flying jumbo jets. Thanks to the film’s innovative camerawork and soundtrack, the airplanes alternate between being overwhelming and as light as angels, yet always remain inevitable.

Vacancy Matthias Müller  (Germany, 1998, 16 mm, 14:30)
Brasilia, the “city of hope”, “the ultimate utopia of the 20th century” (Umberto Eco), today is being conserved as a cultural heritage. It is a location as old as the filmmaker. Incorporated in his 1998 travelogue are segments of amateur footage and excerpts from feature films shot on location in the early Sixties.

Yavas Yavas Joost van Veen & Roel v.d. Maaden (The Netherlands, 1998, 16 mm, 4:30)
A confrontation between city and countryside in Turkey: a world where ii seems time has stood still is interspersed with fragments of busy traffic. What the two have in common is the cacophony of sirens and prayer, which periodically resounds from the ubiquitous loudspeakers, affixed to telephone poles, farmhouses and minarets.

Old Worldy Anouk de Clercq & Leslie Thornton (USA/Belgium, 1998, video, 25:oo)
Old Worldy combines three elements of various origin: cabaret dance numbers from the 40s, which served as a diver­sion for the soldiers and which were loosely based on an ethnic source (Russian folk dancing, Asian belly-dancing); ethnographically responsible archival footage of indigenous dance forms filmed in the Far East; and techno music from the 90s, occasionally interwoven with the soundtrack from the old pictures. The simple recontextualization of this material results in a meditation on authenticity and the reproduction of culture.


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