Theater De Regentes, Den Haag
7 of December 2023
Diego Marcon (IT), Metahaven (NL), Beatrice Gibson (IT/UK), Alex Reynolds (ES), and Mark Leckey (UK).
Home Cinema is proud to announce its last screening event of 2023, The Deep: Last Dream of the Year. The Deep opens a space to feel and reflect on meaning-making through and beyond the cinematic language. What is it that we know? How is it that we know it? At a time when misinformation has splashed and drowned all corners of our collective understanding, we turn to (D)reams, once more, in search of alternative structures for making sense of theworld.
Como si fuera viento, Alex Reynolds (ES)
Every film could be said to be two films at once: on the one hand, there is the story being told, and on the other, a document of the people and places that make that story possible. As a group of friends decides to turn their holiday on the Galician coast into a shoot for a zombie film, Como si Fuera Viento emerges as a celebration of friendship that is at once tender and horrific.
Deux soeurs qui ne sont pas soeurs, Beatrice Gibson (IT/UK)
Two sisters (who are not sisters), two pregnancies, a two-seater car, a beauty queen, a poodle. The election of a second fascist – this time in Brazil. A crime thriller without a crime, Deux soeurs… unfolds like a dream. Based on an original screenplay by Gertrude Stein. Casting an intimate network of the directors friends and influences as its principle actors, from renowned New York school poet Alice Notley to educator Diocouda Diaoune and playing on Stein’s interest in autobiography and repetition. Deux souers is simultaneously an abstract thriller and a collective portrait. An exploration of inheritance, responsibility, ethics and futurity. Shot on 16mm anamorphic by friend and filmmaker Ben Rivers and featuring an original soundtrack by British composer Laurence Crane.
The Parent’s Room, Diego Marcon (IT)
A family gathers around a bed to sing a lament to their own deaths, accompanied by a blackbird.
DazzledDark, Mark Leckey (UK)
Commissioned by Turner Contemporary, Margate, UK. Courtesy Cabinet, London, Galerie Buchholz Berlin/Cologne/New York and Gladstone Gallery, New York.
Capture, Metahaven (NL)
Metahaven’s Capture (2022) draws on the vast film archive of CERN (the European Laboratory for Particle Physics) in a visceral first-person narration exploring the relationship between art, anthropology, and the philosophy of science. With references to Chanda Prescod-Weinstein, Alexander Vvedensky, and David Albert, the viewer is led to a particle accelerator amid footage from the slopes of La Palma’s active volcanic range, Cumbre Vieja, and lichen filmed in the vicinity of Trondheim. According to curator and writer Stefanie Hessler, Capture “grapples with fundamental questions concerning reality, knowledge, and consciousness in both speculative and deeply implicated ways.”
Stimuleringsfonds Creatieve Industrie
Ivo van Stiphout