ENDEAVOUR

Johann Lurf's film Endeavour slides between documentary, avant-garde film, and science-fiction. This highly singular combination of materials and techniques gives the viewer of Endeavour a feeling of flight, as the film continually evades the gravity of genres and definitive definitions. Lurf uses NASA footage from a day and a night launch of the space-shuttle that follows the booster rockets from take-off to splashdown. Each launch is filmed by six cameras, one each at the bottom, middle and top of the two booster rockets. Lurf takes this simultaneously shot footage and edits it consecutively, cutting from one camera to the next every nine frames, giving us about three cuts a second. The complete soundtrack of the day launch is used, with the noise of each rocket isolated on the left and right channels, while the night launch is silent, resulting in a strange 'phantom' soundtrack composed by the viewer from the echoes of the first launch. The strict formal structure of the film – a structure taken from the original material – results in its uncanny and hallucinatory effect, where documentary transforms into avant-garde cinema. Here Lurf intervenes on time itself, which is no longer in synch with the footage, but now appears for itself in the rhythm of the cut, a circular dance taking six steps around before taking one forward.