Artisanal Films: Yet to Come
Bottom Contact (Pohjakosketus); The Fleeting Horizon (Pakeneva horisontti); du soleil, que ça existe; The Days Must Go On; Sunny 16 Helsinki; Rewound Trading Legacies
Run time: 76 min
Cinéstesia
Not for persons under 7
Experimental
Identity On Art Female Director With Guests Shorts Classic
Cinéstesia
Screenings:
Expired 16mm celluloid, a developer made from spruce needles, a broken Super 8 camera recovered abroad, Artisanal Films: Yet to Come maps emerging tendencies in contemporary moving image practices where material experimentation and artisanal methods lie at the very core of the works. Challenging the polished surfaces of digital image-making, these filmmakers insist on the imperfection and unpredictability of analogue processes. And in doing so, they also recover something that industrialised production has long since abandoned; the ability to organically entangle means of production and the subjects they engage with.
Whether attending to the apparatuses as a pivotal cultural understanding tool, the consequences of fossil capitalism, or microscopic non-human life of the Baltic Sea these films engage with diverse ways of perceiving and understanding the world. Together, they resonate with the conviction that the analogue image remains as a permanently under construction horizon, one to which we become privileged witnesses.
Diego Ginartes
The following films will be shown at the screening:
Jani Frisk & Konsta Verta: Bottom Contact (Finland 2023, 3 min.)
Experimental short film about the microscopic non-human animal activity of the Baltic Sea. Filmed on expired 16mm film through a microscope.
Joona Mäkelä: The Fleeting Horizon (Finlandi 2024, 20 min.)
The meditative essay film studies the relationship between commercial forest industry and fossil capitalism. The film is shot with a wide format Bolex UltraPan8 camera and developed by hand. The films shot at the old oil tank are developed with a developer made out of spruce needles. The films shot at the old spruce forest and the cut down old growth spruce forest are developed with a chemical developer.
Charlotte Clermont: du soleil, que ça existe (Finland 2025, 9 min.)
Focusing on longing, distance, and language, this text-based project explores the expansiveness of both language and landscape. The overall feeling of this short film is inspired by Marguerite Duras’ The Malady of Death in which she describes, at the end of the book, how a window overlooking a dark sea at night becomes an element central to her work.
Tsai Min-Xin: The Days Must Go On (Finland 2024, 12 min.)
A reflection on the status of women, sexuality, class.
Eve Le Fessant Coussonneau: Sunny 16 Helsinki (Finland 2025, 7 min.)
On the border between Finland and Russia, lazy summer vibes become stifling. Under the burning sun, on an island, two beings rave. Tender wander or anxious waiting on a sensorial experience. What is there to fear from the horizon ? They seem to be the only ones foreseeing the upcoming disaster.
Eddie Choo Wen Yi: Rewound Trading Legacies (Finland 2025, 24 min.)
The artist reconstructs absent family archives by creating new footage, reimagining memories that were never visually documented. This project began with the discovery of a broken Bauer Super 8 camera, manufactured in Malaysia between 1970–1990 by the Robert Bosch Germany company, during her time in Germany. The camera provoked thoughts on her father’s admiration for Germany and German products—an admiration shaped by his respect for their quality and precision, though he never engaged with them directly nor visited Germany himself.
Whether attending to the apparatuses as a pivotal cultural understanding tool, the consequences of fossil capitalism, or microscopic non-human life of the Baltic Sea these films engage with diverse ways of perceiving and understanding the world. Together, they resonate with the conviction that the analogue image remains as a permanently under construction horizon, one to which we become privileged witnesses.
Diego Ginartes
The following films will be shown at the screening:
Jani Frisk & Konsta Verta: Bottom Contact (Finland 2023, 3 min.)
Experimental short film about the microscopic non-human animal activity of the Baltic Sea. Filmed on expired 16mm film through a microscope.
Joona Mäkelä: The Fleeting Horizon (Finlandi 2024, 20 min.)
The meditative essay film studies the relationship between commercial forest industry and fossil capitalism. The film is shot with a wide format Bolex UltraPan8 camera and developed by hand. The films shot at the old oil tank are developed with a developer made out of spruce needles. The films shot at the old spruce forest and the cut down old growth spruce forest are developed with a chemical developer.
Charlotte Clermont: du soleil, que ça existe (Finland 2025, 9 min.)
Focusing on longing, distance, and language, this text-based project explores the expansiveness of both language and landscape. The overall feeling of this short film is inspired by Marguerite Duras’ The Malady of Death in which she describes, at the end of the book, how a window overlooking a dark sea at night becomes an element central to her work.
Tsai Min-Xin: The Days Must Go On (Finland 2024, 12 min.)
A reflection on the status of women, sexuality, class.
Eve Le Fessant Coussonneau: Sunny 16 Helsinki (Finland 2025, 7 min.)
On the border between Finland and Russia, lazy summer vibes become stifling. Under the burning sun, on an island, two beings rave. Tender wander or anxious waiting on a sensorial experience. What is there to fear from the horizon ? They seem to be the only ones foreseeing the upcoming disaster.
Eddie Choo Wen Yi: Rewound Trading Legacies (Finland 2025, 24 min.)
The artist reconstructs absent family archives by creating new footage, reimagining memories that were never visually documented. This project began with the discovery of a broken Bauer Super 8 camera, manufactured in Malaysia between 1970–1990 by the Robert Bosch Germany company, during her time in Germany. The camera provoked thoughts on her father’s admiration for Germany and German products—an admiration shaped by his respect for their quality and precision, though he never engaged with them directly nor visited Germany himself.