- You are here: Home > FOREVER
You are here
CinemaPRO -
Friday, December 12, 2014 - 18:00
Written by:
Daniel McIntyre
Cast:
Slavka Nogrady
Cinematography:
Daniel McIntyre
Editing:
Daniel McIntyre
Sound:
Daniel McIntyre, Mark Savoia
Music:
Mark Savoia
Producer:
Daniel McIntyre
Romanian premiere
Visually replicating the effects of radioactivity, FOREVER documents the dispersion of radiation and propaganda in the USSR, after the Chernobyl accident, through a woman’s story of adolescence. Personal and universal history collide in a nostalgic bricolage of archive and pop-culture material that creates a complex comparison between the ephemerality of film, that of the human body and of memory. The insistence of the officials on denying the existence of any danger makes the people’s inability to defend themselves painfully concrete. As the image withers into abstraction, the only thing that is left is to accept the imminent threat. (Diana Mereoiu, BIEFF)
Director:
DANIEL MCINTYRE is an artist working primarily with film to create work about memory, identity and history. Specializing in hand-processing , MCINTYRE has been experimenting with darkroom techniques to manipulate images on film. Since graduating from York University in 2009, he has been creating award winning film work and screening at festivals worldwide. Most recently, he has shown work in Toronto, Vancouver, Jakarta, London, New York, Lisbon and Copenhagen, in addition to serving on Juries for Queer Lisboa and MIX Copenhagen. His most recent work is a series of 7 films exploring the effects of radiation on film and people.
Website:
Contact:
daniel.mark.mcintyre[at]gmail[dot]com
Festivals, awards:
- British Film Institute London LGBT Film Festival 2014
- Research / Creation Grant to Film and Video Artists, Canada Council for the Arts Grant 2012;
Director's statement:
“In all of my work I’ve had the tendency to attempt and replicate in a filmic environment a memory space, and that's perhaps the largest force that influences the aesthetics of my work.” (interview, Zoo Magazine)
“Physically, I painstakingly treated the film by spraying a mist of particles of developer on the emulsion in order to process, among other techniques. The completed work looks like a contaminated object, a memory covered in radioactive dust.” (Daniel McIntyre)
Curator's comment:
Exploring collective memory through the lens of personal memory, FOREVER studies reality through a process closer to hypnosis rather than classical documenting. The authorities’ stubbornness at the time of the Chernobyl accident in denying the event is mirrored in the archive materials’ escapist nature: Julie Andrews twirling around the hills of Bavaria in THE SOUND OF MUSIC, fresh-faced young women glancing seductively from underneath their lashes, or sportsmen competing in a cycling tournament, all of which are images celebrating the human spirit. The optimistic undertone is, however, undermined, and the impression of human control and invincibility melts away with the film stock. (Diana Mereoiu, BIEFF)
“In all of my work I’ve had the tendency to attempt and replicate in a filmic environment a memory space, and that's perhaps the largest force that influences the aesthetics of my work.” (interview, Zoo Magazine)
“Physically, I painstakingly treated the film by spraying a mist of particles of developer on the emulsion in order to process, among other techniques. The completed work looks like a contaminated object, a memory covered in radioactive dust.” (Daniel McIntyre)
Curator's comment:
Exploring collective memory through the lens of personal memory, FOREVER studies reality through a process closer to hypnosis rather than classical documenting. The authorities’ stubbornness at the time of the Chernobyl accident in denying the event is mirrored in the archive materials’ escapist nature: Julie Andrews twirling around the hills of Bavaria in THE SOUND OF MUSIC, fresh-faced young women glancing seductively from underneath their lashes, or sportsmen competing in a cycling tournament, all of which are images celebrating the human spirit. The optimistic undertone is, however, undermined, and the impression of human control and invincibility melts away with the film stock. (Diana Mereoiu, BIEFF)