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MAVU FILM POSTER
ONEDREAMRUSH 42 X 42 SHORT FILM FESTIVAL
ONEDREAMRUSH assembled 42 of the most influential and progressive filmmakers from around the world to direct 42-second short films, offering a visually provocative response to the perennial human question: “What is a dream?” In each short the audience is drawn into the filmmaker’s individual investigation of dreams and interior reflections. As a composite whole, each distinct piece dissolves into a serendipitous interweaving of recurring motifs.
Originally commissioned by 42 Below Vodka (Bacardi), in cooperation with the Beijing Film Studios, the finished works were exhibited in Beijing’s China National Film Museum in April 2009. A month later, the project received a special invitation to screen at the 62nd Cannes Film Festival and later in the year was shown at the Rotterdam, Rome and New York Film Festivals. In addition to curating the selection of filmmakers, Griffin directed his own film Tiempo and produced several of the films for the festival. Spanning over a wide generational spectrum, from internationally acclaimed veteran filmmakers and artists to young luminary talents, the innovative and thought-provoking ONEDREAMRUSH is a reference point for globally relevant curatorial and sponsored-content projects.
Ein Kampf Des Egos is a story of a girl’s epic internal battle with her inner darkness and desperation for experiences. The trajectory of her hopes and fears are transposed into the hypnotic yet harmonious rhythms of a sensual and solemn Mother Time, performed by stunning German beauty Sarah Batt in her first film appearance. A metaphysical travel through time, the film navigates into the mental and emotional journey of self, transporting the viewer into a transcendental dimension where time and space are suddenly irrelevant and superfluous, Ein Kampf Des Egos is a visual and psychological imagination of a girl’s trip to the heart of darkness and beyond.
Photographed by Julian Landweer, the film was shot in Berlin in February 2012.
* THE ABOVE IMAGES FROM EIN KAMPF DES EGOS ARE THE SOLE PROPERTY OF PRESENT FUTURE FILMS AND JULIAN LANDWEER.
ONEDREAMRUSH 42 X 42 SHORT FILM FESTIVAL: TIEMPO POSTER
Vox Humana, Latin for “human voice,” is a surreal and visceral voyage through a dreamlike landscape, harking back to a distant Los Angeles past. Starring Jenny Lewis, with a special cameo appearance by legendary avant-garde filmmaker Kenneth Anger, the film was directed by Griffin for designers Kate and Laura Mulleavy of Rodarte, featuring their works for the first time on screen. A contradictory yet inescapable interplay between sunlight and darkness of their Californian settings, the images are orchestrated around disquieting presences and inscrutable looks. Accompanied by the Mulleavy sisters’ grandmother Italia Rodarte’s haunting voice, the music adds to the film’s supernatural atmosphere.
Inspired by 1930s and 40s art and fashion photography and silent cinema of 1920s, Mavu embodies a critical reflection on the fashion film, a genre that has increasingly gained mass attention as a contemporary communication tool. Commissioned for an exhibition on fashion film in Paris in January 2010, Griffin used this opportunity to propose a visually and technically unrestricted approach that departs from the norms of the genre. Primarily a silent film, the images succeed each other, as the recurring slow-motions and elegant indulgence of mundane and overdramatized instances result in an intentional rejection of the widespread use of fast-paced editing to music.
However, for a brief moment in the middle of the film, the melancholic and suggestive solo composition performed by world-renowned pianist Rosey Chan inhabits the unconventional silence providing a momentary reunification between sound and image. With Mavu Griffin began a series of collaborations with stylist Lauren Duncan and make-up artist Sharon Gault, creating a synergy that enhanced his imaginative vision.
Zan Dara is an exploration of memory and life experiences seen through the mind and eyes of a star in her twilight years. Loosely drawing inspiration from the Greek myth about vanity, Narcissus, the film examines remembrances of beauty, joy and pain associated with a life in front of the camera. Zan Dara unfolds through the multiple perspectives of its star, 1952 Miss Stockholm and former Vogue top model and actress Gita Hall in addition to the magnetic Martina Vassileva in the supporting role.
The film was commissioned for Diane Pernet and Franca Sozzani’s Italian Vogue 1 Minute Light Series, held in Milan in 2010. As epitomized in the credits’ final shot, Griffin challenges established standards of beauty by casting a mature female model in the leading role. This has since become a common practice in the fashion and beauty industry.
Zan Dara was selected for the 2011 readers’ favorite fashion film short list by popular vote on Italian Vogue’s website.
Stylistically and visually inspired by the works of Flemish and Dutch painters of the 15th and 16th century, Tiempo consists of a series of ten tableaux vivants, a theatrical and photographic tradition of the late 19th century. Each of the ten scenes in the film visualize ten universal themes found in both dreams and art: illumination, space, birth, animals, sex, eating, the past, the future, disorientation and death. In his film Tiempo Griffin travels through time to contemplate dreams and inner thoughts.
The film was commissioned to be part ofONEDREAMRUSH, a festival of 42-second films, which had its gala première in Beijing, China in 2009. Tiempo stars Adan Jodorowsky and Mexican newcomer Stephanie Sigman and was shot in Mexico City at Churubusco Azteca Studios by one of Mexico’s leading cinematographers, Alejandro Martinez. Produced by Julieta Rodriguez with the support of Lemon Films, it features a sculpture by world renowned Mexican sculptor Javier Marin. The films eerie soundscape was composed by keyboardist and music producer Money Mark and the title sequence and credits were created by artist and graphic designer Frank Longo.
A seductive and mysterious silver finger beckons the audience to enter the manifold micro-universes of Entrer, a tale of metamorphosis made of mirrors and luminescent symbolisms. Interlacing a multitude of kaleidoscopic settings, the film draws inspiration from the interaction between realism and the phantasmagorical. Through a captivating surrealistic world comprised of elegant materials, baroque artefacts and sumptuous motions, the multidimensional traveling of Entrer is a visual allegory of ‘entering’ and ‘exiting’ ubiquitous areas of the mind.