Vertical Cinema #9, Mon 26th September, 2011


Spotter (2011), Chris Marsh

‘A short documentary made at Manchester airport regarding the plane spotters that wait on a specific mound to view the aircraft.  A view of them from the directors’ point of view, an observer being observed.  Allowing the audience to view the events but hear a description of his thoughts by an Australian woman he has never met.

What begins as an effort to make a documentary but ends up being a profound expression of an artists’ dislocation as he tries to identify with his subjects.  A film that observes a scene through a personal prism.  An expression of how strange it is to be in the world.’


The Golden Age (2011), Toby Tatum 

‘The inhabitants of a secluded utopia dedicate themselves to relaxation and artistic pursuits, overshadowed by an ominous melancholy.

Chaos surrounds us / a shimmering whirlwind of unbounded colour./ Gaze closely into this shifting miraculous haze / see within it myriad fleeting forms. / Watch them appear before your eyes: / plants, animals, gods even. / Each momentarily taking shape before fading / changing, being reformed again. / A limitless, restless creation. / The artist takes their brush and stirs these elements / and from them worlds are born.’


pig_duck (2011), Wrightoid

‘Wrightoid is a polymath – librarian, musician, avant-garde filmmaker.  Through the personification of two small foam animals, pig_duck obliquely examines the loneliness of solitary travel and the poignancy of cultural difference.

pig_duck was filmed on location in northern Spain in May 2011, during a period of mass protest.’


Ideas from Fashion Magazines Found in Bins (2011), Choterina Freer

‘Through the replication of ‘playful’ images of high fashion, Choterina Freer emphasises the absurdity in the gap between this aspirational imagery and the reality of the high-street.  In Ideas from Fashion Magazines Found in Bins, the camera concentrates on the cheap and everyday materials used, such as pigeon wings, cable ties and post-it notes.  The use of the close-up shot eroticises these objects whilst simultaneously revealing their low quality.’


I am becalmed (2011), Liam Rogers