IMPASSENGER
spaces encompass the protagonists who appear consumed by the space en passant. they confront with unreal places. narrative startings are cut, scenes seem trapped in an iterative structure and the promise of fantastic landscapes doesn't unclose an escape. spaces detached from their locality are both real and fantasy. i seek the space that opens up in the form of an affective gap.
impassenger @ sixpackfilm with a text by shilla strelka
CAST: Fenfen Huang, Zheng Zheng Jiang
SPECIAL THANKS TO: Ralo Mayer and
Victor Jaschke for their perrenial support, advice and empathy,
Ine Lamers for London and her comments,
Austrian Cultural Forum London for hosting me,
Marta Bakst for her excellent assistance in London,
Shanghai Theatre Academy for their technical support,
Julien Diehn for sound consultancy,
Melanie Ender for watching, BoJing Su for freezing her tails off in Shanghai, and
Lei Saito for a great spot in Paris.
Shot on location in Huangshan, Shanghai, Paris, Cairo and London
upcoming screenings:
<<
"Durch diverse Verfahren der Dopplung, Spiegelung und Variation führt der Film uns immer tiefer in die Angstzustände eines Schattenwesens, das seltsam an der Oberfläche zu schweben scheint, während sein Gefühlsleben im Zerrspiegel der Umgebung zurückgeworfen wird. Ben Pointekers IMPASSENGER umschreibt einen emotionalen Resonanzraum und lässt das Kino dabei haptisch werden. Kristalline Zeit-Bilder formulieren sich zu einem taktilen Alphabet zwischen introspektiver Landschaft und externalisierter Emotionalität. Dabei lotet er das Verhältnis von Nähe und Distanz neu aus, und lässt das Objekt der Investigation schließlich zum Subjekt gerinnen." Shilla Strelka
"Through diverse processes of doubling, reflection, and variation, the film leads us continually deeper into the fearful states of a shadow being that seems to float oddly on the surface while its emotional life is cast back into the distorting mirror of the surroundings. Ben Pointeker´s IMPASSENGER describes an emotional resonance space and in doing so, allows cinema to become haptic. Crystalline time-images formulate to a tactile alphabet between introspective landscape and externalized emotionality. At the same time, he newly explores the relationship of proximity and distance, and lets the object of the investigation ultimately congeal to subject." Shilla Strelka
"Impassenger présente un espace de résonance émotionnelle et, ce faisant, permet au cinéma de devenir haptique. Ce film explore la relation entre la proximité et la distance, et permet à l’objet de l’enquête de figer sa soumission." FNC Montréal
"A cinematic poem shrouded in shadow and mist. An image of water whose surface reflects the surrounding light. The hands of a woman holding a purse in the gloom of a city street. A snow-covered mountain landscape with massive trees reached by a cable lift. Through the sensitive composition of the film, these seemingly banal images begin to speak and reveal an inner world, an inward dream landscape of anxiety, alienation, isolation, and desire. Entrancing poetry relies on a delicate grasp but it’s impossible to resist its inner magic." Hubert Poul
"El autor refleja las diferentes percepciones realistas y subrealistas de la cotidianidad existencial. Las imágenes sobrepuestas, así como el sonido muestra la profundidad de lo que se observa concretamente y la poca atención que se da a la profundidad del alma. Si observamos y sentimos sin usar el pensamiento racional. Veremos el reflejo del alma de autor, el constante caminar entre lo real y abstracto de la vida. Así como muestra lo limitado del pensamiento racional humano. El salir y caminar es el resultado de la profundidad de la existencialidad racional y irracional del vivir. El sonido nos alerta a estar mas atento a mirar la vida de manera mas profunda.“ Karina Beteta Alvorado