Container #6 Next Screening: Lux Æterna
Also our closing 2022 program announcement, Adelaide Film Festival and JLG.
Hello. Thank you once again for joining us.
Next Screening:
Lux Æterna | Gaspar Noé | 7pm Tuesday 20 September at The Elizabeth
An overloaded split-screen film about the mediated representation of women and witchcraft; a behind-the-scenes film shoot drama starring Charlotte Gainsbourg and Beatrice Dalle. Originally funded as a Saint Laurent ad, and now something more.
Ostensibly a behind-the-scenes drama about a director (Béatrice Dalle) preparing to film her star (Charlotte Gainsbourg) being burnt on the stake for being a witch. Yet within this framework, provocateur and arch stylist Gaspar Noé has created an essay film that mixes collages of earlier witch films with current conversations around power dynamics and control—both mediated by the interplay of fluid long takes presented in split screen and flickering psychedelic editing.
Warning! This film contains rapidly flickering, stroboscopic imagery that can induce seizures.
Unrated 18+
With thanks to Wild Bunch and presented in partnership with Static Vision.
Free to all members with membership available online or at the Elizabeth box office.
Once you’re a member, you can attend these screenings for free, and we’ve done our best to keep prices as low as possible with joining fees ranging from $30 (six months concession) to $100 (annual regular).
Upcoming Screenings:
We’re delighted to reveal our screenings to close out 2022. There are a couple of acclaimed Cannes titles; a couple of Australian premieres; a collaborative 3D work; the last film of an Armenian legend; a title straight from Locarno; a retrospective of Helena Wittmann, one of our favourite new voices in filmmaking; and a fairly sunaddled send-off to summer. (There may be some overlap between these categories.)
20 September: Gasper Noé’s Lux Æterna (presented in partnership with Static Vision)
4 October: Michelangelo Frammartino’s Il Buco
18 October: Sofia Bohdanowicz, Burak Çevik & Blake Williams’ A Woman Escapes
1 November: Artavazd Pelechian’s Nature + Helena Wittmann’s Drift
15 November: Lucien Castaing-Taylor & Véréna Paravel’s De Humani Corporis Fabrica
29 November: Helena Wittmann’s Human Flowers of Flesh (pictured below)
6 December: Albert Serra’s Pacifiction (pictured above)
13 December: Harmony Korine’s The Beach Bum
p.s. you may note we snuck in an extra screening for December.
Adelaide Film Festival lineup announcement
The most significant news for Adelaide Film Festival is that it will become an annual rather than biannual festival. This is particularly important for Adelaide film culture as despite being a biannual, the festival only provided a roundup of the previous year’s festival films leaving every second year to disappear. AFF has always been grounded in a core of heavy-hitting hero titles (whether direct from major festivals or world premieres) surrounded by sometimes interesting if slightly unfocused titles and this year’s festival continues this pattern. We have key Cannes titles like Eo, Triangle of Sadness and Will o’ the Wisp, fresh from Venice titles Tár (with Cate Blanchett) and The Banshees of Inisherin, and Adelaide Film Festival Investment Fund titles such as You Can Go Now (documenting Brisbane’s Richard Bell.)
Oddly the most exciting title of its lineup, Hello Dankness, the world premiere of Soda_Jerk’s latest feature and the first since their breakthrough Terror Nullius seems to have been buried. Whether this is deliberate or an artefact of a website mishandling a gallery commission is hard to tell.
Farewell JLG
There have been many more articulate summaries or more personal stories of Godard’s significance. For us though his importance lies in helping develop languages of continuity—intertwining life, politics and cinema—and discontinuity—taking the even emphasis of the photographic image and developing formal ways of suggesting ‘quotation’ and ‘collage.’
Thank you. We hope to catch you on Tuesday for our screening of Lux Æterna, and our following email will contain more information on our 4 October screening of Michelangelo Frammartino’s Il Buco: a period film, set in 1961, and detailing a team of spelunkers exploring the depths of the Bifurto Abyss in Calabria—then the deepest discovered cave system in the world. The film is as attentive to the light shifts of clouds above the Abyss as the flicker of torches and analog documentation below.