Programmed by Clint Enns & Mike Hoolboom. Presented by Pleasure Dome at Cinecycle on December 3, 2016 in Toronto, Ontario.
Madi Piller has worked diligently and with a great appetite for the past fifteen years, working up her hybrid chops, mix-mastering a rigorous, emulsion-based formalism with a commitment to process and the joys of seeing. She was one of the first Super 8 filmmakers in Colombia, and tonight’s program will open with a glimpse of her earliest work, and the phenom who called herself Shakira. When Piller moved to Canada she raised the flag for animation, and made a brace of shorts that feature sometimes harrowing political recollections, carefully reworked, run through generations of frame by frame laser printings or else hand-painted frames, shuttling between film formats, working to find the feeling tone of recollection. The centerpiece of this retrospective is the world premiere of her new trilogy, a landscape of memory shot in her native Peru, where she reanimates the grounds of her seeing in a materialist rapture.
Shakira Music Video | 1981 | 1 min. | DV
Vive Le Film | 2006 | 2 min. | 35mm
Animated Self-Portraits/Autoportraits Animés | 2012 | 9 min. | 35mm
Toro Bravo | 2007 | 4 min. | 35mm
7200 Frames Under The Sun | 2011 | 4 min. | super 8->DV [dual projection]
Chambre de Torture 1944 | 2003 | 3 min. | 16mm
Anonymous, 1855 | 2005 | 2 min. | DV
Bacchanal | 2014 | 15 min. | super 8 at 18fps | silent
Untitled, 1925 Part One | 2016 | 7 min. | 16mm->DV
Untitled, 1925 Part Two | 2016 | 9 minutes | 16mm->DV
Untitled, 1925 Part Three | 2016 | 11 min. |16mm->DV