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2005 / color / sound / 1S / 8' 50

In the beginning was the black
ellipse. Nana Swiczinsky presents this form, which she also identifies as the «geometric proto-cell,»
as the starting material for her film Points of View (1999). Adventurous distortions and contortions allow
a maximum on form effects to
appear. Black and white only was her original self-appointed limitation. Vanishing Points takes this «proto-material» and submerges
it in a lush universe of color - as though allowing every perspective
a decisive expansion through the appropriate psychedelic lens.

The soberness of the basic element is thus countered by the abundant feast of color, rhythm, and form. Swiczinsky has subjected individual sequences of the predecessor film to a radical reworking. However, she does this without using
a camera, but instead, by means
of repetitive copying, masking, and dying. She approaches the «proto-form» from a wide range of distances and perspectives. The
ellipse thus appears extensive one time, is divided in the middle at another point, and appears once as a grid surface, then again in cadres of diverse details: each transformation occurring in minute, fragile steps. The soundtrack, created from the sounds of a copy machine, offers a subtle change of rhythm. The coloring generates from the brashest primary tones, yet at the same time, their layering over one another results in white. This
emphasizes the effect of a «bottomless depth,» a hallucinogenic engrossment in the phenomenon
of additive color mixing.

The «vanishing points» of the title correspond with the immersion in color and form: as geometric proto-elements, which in the course of their processing continually threaten to disappear, but also as pictorial anchors, sturdily affixed to
the original material. In between: anamorphoses of that which is withdrawing, as it should.
(Christian Höller)


distribution format 35mm
screen 1,85 - Panoramic (single screen)
speed 24 fps
sound optical sound
rental fee 30,00 €