Fokus (12+)
Finland, 2004, colour, 40 min.
Director: Sami van Ingen
Director: Sami van Ingen
A structuralist film on family footage, Fokus is based on a 16mm home movie shot during the early 1960s in India, by the director’s grandmother, Barbara van Ingen. The original 11-minute stretch of film portrays the spectacular Dussera procession arranged annually in the town of Mysore. In his film, Sami van Ingen questions: what can we deconstruct and reconstruct better than our own past? Ingen notes that “the fact that I have chosen material filmed by my own grandmother as the starting point for my new film is not a coincidence. It is important to understand as much as possible the footage you manipulate.”
Sami van Ingen
Sami van Ingen
(b. 1964) makes experimental films and installations based on the moving image. One of the main characteristics of his work is an examination of the cinematic apparatus itself and the boundaries within it. His works have been screened in many national and international festivals and venues over the years. Collaborators include filmmakers Philip Hoffman and Bruce BAILLIE, as well as composer Production
FILMOGRAPHY
«Butter», 1986; «All the Policemen», 1987; «Brachycera», 1988; «Animal Experiment A/1», 1991; «Summer-Winter-Summer», 1991; «Hammu», 1991; «Moving Emu», 1992; «Pines», 1992; «Finnmunka», 1993; «Twone», 1994; «Sweep», 1995; «The Blow», 1998; «Fell», 2000; «Days», 2000; «Fokus», 2004; «The Sequent Of Hanna Ave», 2006; «Perambulations», 2008; «Stagecoach», 2010.
Finland, 2004, colour, 40 min.
Director: Sami van Ingen
Director: Sami van Ingen
A structuralist film on family footage, Fokus is based on a 16mm home movie shot during the early 1960s in India, by the director’s grandmother, Barbara van Ingen. The original 11-minute stretch of film portrays the spectacular Dussera procession arranged annually in the town of Mysore. In his film, Sami van Ingen questions: what can we deconstruct and reconstruct better than our own past? Ingen notes that “the fact that I have chosen material filmed by my own grandmother as the starting point for my new film is not a coincidence. It is important to understand as much as possible the footage you manipulate.”