This screening is part of Storytelling for Earthly Survival, a collaboration between De Uitkijk and Kriterion. The program will include documentaries, short films and feature length films, all related to environmental issues and the relationship between humans and nature.
Aspect (2004) by Emily Richardson
In this short by Emily Richardson we see an entire calendar year in a forest condensed into less than nine minutes. Light, shadow and colour shift across the surface of the trees. Richardson uses photographic techniques like long exposure and timelapse to create fascinating moving images of light and shadow growing and dying down, while the surface of trees shimmer disappear again. The images are accompanied by the soundtrack of the forest, made by Benedict Drew. We hear twigs snapping, leaves rustling, capturing the hidden life between the trees.
Frem (2019) by Viera Čákanyová
Frem is a response to the current wave of post-humanist thinking caused by the climate crisis and its relation to the development of technology and artificial intelligence. The human species is beginning to realize its insignificance and transience, and human identity has found itself in a crisis. The film Frem attempts to reflect on this insignificance and creates a dehumanized and alienated view of landscape and nature beyond our perception of reality. Incomplete thoughts and fragments of dialogue, diverse music interrupted by rushes and glitches, and the seemingly confused, unanchored camera, create a disturbing, philosophical reflection on the limits of anthropocentric thinking.
NAYA – DER WALD HAT TAUSEND AUGEN (2020) by Sebastian Mulder
In Naya, we follow the life of GreyWolf680female, a she-wolf who was born in 2016 in a military training area in former East Germany. When she is around six months old, German researchers put a GPS collar on the wolf. This collar relays its exact location to a scientist from the Technical University of Dresden. This scientist decides to call the wolf Naya. On October 10, 2017, Naya leaves her parental pack to look for a habitat to start her own pack. While Naya is walking from Germany to the Netherlands, she is not seen or filmed anywhere.
Naya – Der Wald hat tausend Augen takes this disappearance as its starting point and consists entirely of found footage from surveillance cameras, satellite recordings, webcams, wildlife cameras and drones. In this collage of images we are constantly looking for her. Naya’s presence can be felt through the graphic line showing the movement of her GPS signal and the tense sound design. Slowly we become the voyeurs in Naya’s life.
Naya – Der Wald ha tausend Augen includes a talk by the director Sebastian Mulder.