READ MORE ABOUT THE BIOSCOPE’S SIGNATURE EVENTS
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28 – 30 Apr
The International Short Film Festival Oberhausen is one of the most important short film institutions anywhere in the world. And every year after the festival, a special package of films travels to independent cinemas around the world. The Bioscope is proud to be included in this tour with the support from The Goethe Institut in Johannesburg. From 28 to 30 April, the best films from the Oberhausen Sort Film competition will be screened at the Bioscope. Two programmes will be screened: the 2016 Award Winners Programme and the Artist Film Programme.
Award Winners Programme
FRI 28 April 7:30pm BUY TICKETS
SUN 30 April 7pm BUY TICKETS
Artist Film Programme
SAT 29 April 8pm BUY TICKETS
Award Winners Programme: This line-up spotlights all the main winners of the 2016 festival.
This line-up spotlights all the main winners of the 2016 festival. First, Sarah Drath shows us Turkey against the backdrop of its history, in a film full of ambiguous political commentary. In Andreas Hofstetter’s music video “All Day”, we can dream our way into the visual cosmos of the internet in the space of just four minutes. “489 Years” then leads the way in enthralling computer-animated image sequences down the dangerous path through a mined paradise in Korea. Lav Diaz’s formally one-of-a-kind sci-fi film “The day before the end”, in which the Philippines prepare for a severe storm, has a compelling political urgency. Vika Kirchenbauer’s sensual concept video “SHE WHOSE BLOOD IS CLOTTING IN MY UNDERWEAR” looks at the violence of lust in scenes both loud and intimate, brutal and tender. And finally, in Louise Carrin’s “Venusia”, awarded the Grand Prize of the City of Oberhausen, we observe and listen to private and intimate moments between the owner of a luxury brothel and an untalented prostitute. This unusual double portrait unfolds a dynamic landscape of the human condition.
Artist Film Programme:
These six works between Black Box and White Cube present very special personal perspectives on expansiveness, landscape and memory while making use of quite unusual aesthetics and techniques. Some of the filmmakers and artists represented have already shown their works successfully in galleries and art exhibitions all over the world, including at the Venice Biennale. Overall, this set of works, some of them award-winning, give viewers an impression of the current state of international media art. The programme also impressively demonstrates how Oberhausen has long since “positioned itself at the intersection to the visual arts, moving incrementally to the arts side” (Frankfurter Rundschau, May 2016).