KALDALON. 1971. 45 min.
“A non-euclidean, ambiguously mangled and transfigured adventure film.” –Dore O.
KASKARA. 1974. 21 min.
“A balance of being enclosed in divided space. […] The landscape exists only as a view through windows and doors. […] Attraction, blending, and repulsion of half of the film frame for the purpose of a sensual topology […] One image consumes another.” –Dore O.
ALASKA. 1968. 18 min.
“An emigration film: a dream of myself, the consequences of the act with society.” –Dore O.
This screening honors the work and legacy of one of Germany’s most influential and pioneering experimental filmmakers, who tragically passed away in early March 2022. In the 1960s, the painter Dore O. became the first woman to work consistently and independently in German experimental cinema. A co-founder of the Hamburg Co-op, modeled after its New York predecessor, she was actively involved in exploring new forms of cinema with her then-husband, Werner Nekes. Radically following her own path, she laid the groundwork for a later generation of notably female filmmakers by bridging the realms of the personal and the aesthetic while defying prevailing theories, both structural and feminist – a refusal that rendered her work hard to categorize, ultimately pushing it to the margins where it received little to no critical attention.For almost 35 years, despite an overall decline in experimental film in the 1970s, Dore O. carried on, meticulously crafting a filmic reality that is captured and experienced foremost as a sensuous and evocative flow of multilayered images and sounds, which induce a state in between hypnosis and lucidity. Dore O. transformed painterly concepts into a distinctly cinematic language, using complex in-camera editing and rephotographing techniques, rhythmic alternations between depth and surface, stillness and motion, to “create new architectures of old forms” (Dore O.). Going beyond the strictly personal or formalistic, her work thwarts those categories in its highly enigmatic and elusive poetics, by conveying new modes of introspection, states of consciousness, and vaguely evoked stories from inside the layers of celluloid film.
This festival is supported by funds from the New York State Council on the Arts, Statewide Community Regrants Program (formerly the Decentralization program) with the support of Governor Kathy Hochul and the New York State Legislature, and administered by Flushing Town Hall.
The festival is also made possible in part by the Queens Council on the Arts with public funds from the New York City Department of Cultural Affairs in partnership with the City Council. Additional support provided by FRANC and the Fund for the City of New York.
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