S > St

S > St

— — — — —

n > | NETHERLANDS |

— — — — —

Sepio (1996, 31 min)

BETWEEN 15-60 MIN |

Traces of Smoke | Rooksporen (1992, 105 min)

BETWEEN 60-120 MIN |

— — — — — 1990s

TRACES OF SMOKE (11 Nov 2015)

“whenever they get too loud, I make myself go numb”

Straubian kitchen-staged testimonials and doodle readings, making the absence even more present (the more “security cameras” installed, the more elusory portrait on record)

sn1: anyone who picks his nose before testifying he was kissed should be immediately excluded from a crew of reliable witnesses

sn2: released the same year as “Jakub”

— — — — —

STADNIK, GEORGE O.

u > | U.S.A. |

— — — — —

Primordial Soup (2005, 9 min)

BETWEEN 0-15 MIN |

Sun Spot (2005, 2 min)

BETWEEN 0-15 MIN |

Meditation II (2005, 5 min)

BETWEEN 0-15 MIN |

Green Violet/Reflecto (2005, 4 min)

BETWEEN 0-15 MIN |

— — — — — 2000s

PRIMORDIAL SOUP (16 Jun 2016)

digitally enhanced version of Primordial Soup (1975)

— — — — —

STEFFEN, ANGELA (1979)

g > | GERMANY |

— — — — —

Lebensader (2009, 6 min)

BETWEEN 0-15 MIN |

— — — — — 2000s

STEREC, PAVEL (1985)

c > | CZECHIA |

— — — — —

The Sexual Struggle of Commodities | Sexuální boj komodit (2014, 7 min)

BETWEEN 0-15 MIN | with NOVÁK, VILÉM (1981) |

— — — — — 2010s

von STERNBERG, JOSEF (1894-1969)

a > | *AUSTRIA | u > | U.S.A. |

— — — — —

The Devil is a Woman (1935, 79 min)

BETWEEN 60-120 MIN |

— — — — — 1930s

ŠTĚTINA, ROMAN (1986)

c > | CZECHIA |

— — — — —

Instructions for Use of Jiří Kolář | Návod na použití Jiřího Koláře (2016, 130 min)

BEYOND 120 MIN |

Klikyhák (2015, 25 min)

Red Herring | Falešná stopa (2014, 28 min)

BETWEEN 15-60 MIN |

Lost Case | Ztracený případ (2014, 58 min)

BETWEEN 15-60 MIN |

Talking About Art | Povídání o umění (2012, 9 min)

BETWEEN 0-15 MIN |

— — — — — 2010s

TALKING ABOUT ART (21 Nov 2014)

“Art is like a blue baloon thrown in the air by a suntanned girl in a blue swimsuit, labeled NIVEA — thrown so high that it’s getting out of sight.” [Gustav Deutsch, The School of Seeing I: Adria Holiday Films 1954-1968 (1990)]

— — — — —

STEYERL, HITO (1966)

g > | GERMANY |

— — — — —

How Not to Be Seen: A Fucking Didactic Educational .mov File (2013, 14 min)

BETWEEN 0-15 MIN |

Strike (2010, 1 min)

BETWEEN 0-15 MIN |

— — — — — 2010s

STILLER, MAURITZ (1883-1928)

f > | *FINLAND | s > | SWEDEN |

— — — — —

Gunnar Hedes Saga (1923, 101 min)

BETWEEN 60-120 MIN |

— — — — — 1920s

ŠTINGL, PAVEL (1960)

c > | CZECHIA |

— — — — —

Courage | Odvaha (2016, 70 min)

BETWEEN 60-120 MIN |

— — — — — 2010s

STIRPE, MARISA

a > | AUSTRALIA |

— — — — —

Thread of Voice (1993, 19 min)

with BERGNER, MARCUS (1956) | with BUCKLEY, MICHAEL | with LOVECE, FRANK |

— — — — — 1990s

ARF ARF / 85 (1985, 12 min)

with BERGNER, MARCUS (1956) | with BUCKLEY, MICHAEL | with LOVECE, FRANK |

The Broken Jug (1983, 4 min)

with LOVECE, FRANK |

— — — — — 1980s

STÖCKL, ULA (1938)

g > | GERMANY |

— — — — —

The Cat Has Nine Lives | Neun Leben hat die Katze (1968, 87 min)

BETWEEN 60-120 MIN |

— — — — — 1960s

STOCKLASSA, GRETA (1993)

c > | *CZECHIA | s > | SWEDEN |

— — — — —

The Still Life of Vera | Pohledy na Věru Bechyňovou (2015, 9 min)

BETWEEN 0-15 MIN |

Medium Grey | Středně šedá (2015, 9 min)

BETWEEN 0-15 MIN |

Emma má mámu (2014, 14 min)

— — — — — 2010s

STORCK, HENRI (1907-1999)

b > | BELGIUM |

— — — — —

Peasant Symphony (1944, 116 min)

BETWEEN 60-120 MIN | with DELATTRE, MAURICE |

— — — — — 1940s

Houses of Poverty (1936, 30 min)

BETWEEN 15-60 MIN |

— — — — — 1930s

For Your Beautiful Eyes (1929, 8 min)

BETWEEN 0-15 MIN |

— — — — — 1920s

PEASANT SYMPHONY (29 Jun 2016)

“The sower feeds the land with the grains of life. His gesture is supported by the wind and follows the rhythm of his pace. When the size of a field demands it the sower is replaced by a seeder. This distributes the seeds more evenly. // Potatoes are often still planted by hand. This hard labour is reserved for women. And without a skilful and strong wife even the best farmer can’t reap the fruits of his work.”

The Manichean monks and nuns were asked to observe five “commandments”: 1/ telling the truth, 2/ nonviolence (which includes violence against the vegetal world, hence prohibiting agricultural work), 3/ chastity, 4/ food taboos (in particular vegetarianism) and fasts, 5/ poverty. // A fully initiated Manichee might neither take life nor produce it, whether animal or vegetal, so that agriculture and cooking were as much taboo as murder and adultery.

During the Cold War the Warsaw Pact countries, fearing a food shortage, decried the Colorado beetle as a CIA plot to destroy the communist agriculture. // During the 2014 pro-Russian unrest in Ukraine, the word kolorady, from the Ukrainian and Russian term for Colorado beetle, gained popularity among Ukrainians as a derogatory term to describe pro-Russian separatists in the Donetsk and Luhansk provinces of Eastern Ukraine. The nickname was a reference to the black and gold St. George’s ribbons worn by many of the separatists as a symbol of their identity. (wiki)

“Pruning trees can be just as useful as shearing sheep. // Spreading out and stacking up time and again, that’s haymaking.”

picturesque eulogy of laborious agriculture to nurture rural precariat with the symphony of self-deceptions so that urban petty elites can preserve their leisure

HOUSES OF POVERTY (5 Jul 2016)

far from an observational documentary (scenes staged), but not a full-fledged docufiction

using contrast and tones adjustments to alter a section of a photo that is distracting is okay, but the change shouldn’t be done by “moving elements” / in 1979 i became a photojournalist - my career has gone through many stages - today (2016) i would define my work as visual storytelling (statements of steve mccurry after his photoshop scandal)

— — — — —

STRATIL, STEFAN (1963)

a > | AUSTRIA |

— — — — —

The Secret of the Grey Matter | Das Geheimnis der grauen Zellen (1986/1994, 13 min)

BETWEEN 0-15 MIN |

— — — — — 1990s

STRAUB, JEAN MARIE (1933)

HUILLET, DANIÈLE (1936-2006)

f > | *FRANCE | g > | GERMANY | i > | ITALY |

— — — — —

Kommunisten (2014, 70 min)

BETWEEN 60-120 MIN | w/out HUILLET, DANIÈLE |

Dialogue d’ombres (1954-2013, 29 min)

BETWEEN 15-60 MIN |

— — — — — 2010s

Artemis’ Knee (2008, 26 min)

BETWEEN 15-60 MIN | w/out HUILLET, DANIÈLE |

Workers, Peasants | Operai, contadini (2001, 123 min)

BEYOND 120 MIN |

— — — — — 2000s

Antigone (1992, 100 min)

BETWEEN 60-120 MIN |

— — — — — 1990s

Every Revolution is a Throw of the Dice (1977, 11 min)

BETWEEN 0-15 MIN |

History Lessons (1972, 88 min)

BETWEEN 60-120 MIN |

— — — — — 1970s

DIALOGUE D’OMBRES (3 Jul 2015)

An unexpected gift of the internet age is that paper, from ultimate support of abstraction (remember Jules et Jim and the gradual emergence of the person from the letter?), has obtained a median status, something between the angelic anonymousness and immateriality (ággelos means messenger & angels, entities subtle in body and slippery in categorization, were represented with generic features to appease iconoclasts) of real-time, impersonal, device-mediated talk, and full-body encounter, filling the writing act and process with a sensuality I don’t remember it last had. To write a love letter on paper or print all online amorous rant and read it in a heavily accented (like in this short) lingua franca to the one they were intended for, to hear the voice embody an emotion in this almost structuralist process of getting to know someone by successive constituents – message, image, speech, tangibility – are things filled with a stochastic dose of grace; that makes of Straub's small film a strange, most likely unintended metaphor for falling in love in the virtual realm. The dialogues of shadows is then not merely a distant ping pong game of retorts and safe spatial gaps, but a phase in that risky game of getting close, of falling from the virtual (multi-possible) into the realm of human (mono-possibility).

— — — — —

ANTIGONE (29 Sep 2015)

my watching of Antigone was unfortunately mislead by a lizard running fast across the stones in the background in the early phase of the film… i wrongly assumed that such a dynamic phenomenon in an otherwise static movie must have some significance… my assumption was that these fast running lizards will appear repetitively in the background and will mark by their dynamic movements certain specific replicas which will altogether form an anagram-like second plane message of the narrative… i became very curious how the first marked phrase “the overfed birds couldn’t rise from the ground” will develop… if it will become an ironical punch by the authors targeted to the actors playing in their films or to the fanbase or something completely different and unexpected... despite i stayed lizard-alert the whole film, i must admit i didn’t notice any other… at the end of the film i felt like Ferdinand de Saussure who devoted several years of his life to anagram study, but all his efforts in this matter turned out to be fruitless

scene which in my lizard-alert mode also caught my attention was a sequence when one of the characters is trying to prove he’s not taking any bribes by the gesture of turning his purse inside out… i believe this is a reference to “nu pogodi!” cartoon where a wolf character is showing to passing by teddy-cops his pockets turned inside out as a proof he didn’t steal anything (ofc the contraband is at the moment hidden in a green box next to him)

i hope what i wrote above won’t create a false impression i don’t appreciate Straub-Huillet cinema… on the contrary, i like many of their films (especially those Huillet-Straub)... and i love most of their works they made under a common nickname Heinz Emigholz

KOMMUNISTEN (4 Jan 2016)

“A spectre is haunting Straub – the spectre of Huillet.”

half lamentation, half lampoon; half an echo of the past, half menace of the future; at times, by its bitter, witty and incisive criticism, striking the bourgeoisie to the very heart’s core; but always ludicrous in its effect, through total incapacity to comprehend the march of film history

side note 1: is the birds singing artificially added to the film in post-production (as is the case with a pre-recorded laughter in sitcoms)? or what we can hear in the background is an authentic field recording captured simultaneously with text declamations? or is it possibly a further step going beyond sign language interpretations and the film has a special audio track making it accessible even to the birds audience?

side note 2: if the last is the truth, it would be a great breakthrough in Straub’s attitude towards dubbing/subtitling (and thus this film truly revolutionary)

side note 3: ofc the flies buzzing is audible alongside the birds singing at times too, but this can hardly do anything with a (possible) attempt for unconventional dubbing, cuz within insect’s realm communism is nothing unusual and thus no need for humans to try to spread the word about it this species way

— — — — —

STREJCOVSKÝ, JAN (1991)

c > | CZECHIA |

— — — — —

Grandfather’s Magic | Dědova magika (2015, 20 min)

Impotence of Power | Bezmoc mocných (2014, 25 min)

Igor’s Big Emotion | Igorovo velké dojetí (2012, 25 min)

BETWEEN 15-60 MIN |

— — — — — 2010s

IGOR’S BIG EMOTION (28 Nov 2015)

a lagged portrait (portraying figure becoming the rekindled image of the portrayed)

— — — — —

STROHEIM, ERICH (1885-1957)

a > | *AUSTRIA | f > | FRANCE | u > | U.S.A. |

— — — — —

Foolish Wives (1922, 145 min)

BEYOND 120 MIN |

— — — — — 1920s

STRNAD, MATĚJ (1989)

c > | CZECHIA |

— — — — —

Autentická novodobá kopie (2011, 5 min)

BETWEEN 0-15 MIN |

— — — — — 2010s