Cinema dialogues: 4 films by Sra. Polaroiska
Screening of 4 short films by Alaitz Arenzana and María Ibarretxe
Within the Focus devoted to Ulrike Ottinger and as part of the programme Cinema Dialogues organized by the Basque Film Archive and DSS2016EU, we will watch the films: Pero… tú ¿eres tú? No, yo soy su…, Lady Jibia, Sleeping Over Plastic and Exhibiton 19.
Pero... tú ¿eres tú? No, yo soy su...
Alaitz Arenzana and Maria Ibarretxe, , , 2003 15´38 "
Pero tu... ¿eres tu? No, yo soy su... is an etude, or rather an invention for two voices in which we observe a singular game of hide-and-seek played through gestures, poses, and the daily rituals of two figures. This film questions the obviousness of shared space that should be a prerequisite to the game being played. Static shots, a melodic soundtrack, and a salon resembling a gallery seem to impose this space forcibly. Yet for the protagonists, finding the other (me) is more of an unexpected consequence, a dream in which we accept what is different while everyday acquires the quality of something that is radically strange.
Alaitz Arenzana and Maria Ibarretxe, , , 2006 15´33"
Lady Jibia is perhaps the most cinematographic work the duo has produced thus far. It is a perverse and ironic analysis of social restraints. The film centers on the process of preparing a squid dish. The description of this process might be found both as a recipe in a family cookbook handed down by women from one generation to the next as well as in a cultural anthropology textbook alongside a seemingly harmless diagram of the nature/culture opposition. A woman making the dish is observed through a kitchen window. This very moment becomes a stage for her thoughts, desires, fears, and oppressions. Will the woman succumb to them when confronted by the reigning order?
Sleeping Over Plastic
Alaitz Arenzana and Maria Ibarretxe, , , 2008 15´38"
Much like a bomb shelter is equipped with the accoutrements required in the event of an attack, so the space in Sleeping over Plastic seems the ideal setting for surviving a panic attack or a controlled cleansing. Maria/Alaitz performs a self-preserving ritual in which reality is replaced by its substitutes: an inflatable mattress, a rubber trophy, a mechanically erotic fling with the members of a football team. The hunting rifle suspended in midair is loaded and ready, but when the shot is fired we can hear it is fired into a void.
Alaitz Arenzana and Maria Ibarretxe, , , 2009 9´33"
Exhibition 19 is a multiple portrait, on the one hand, of women who lack their own iconography in a world founded on the exigencies of creativity and professionalism, and, on the other, of places constituting the hinterland of this world. One of the film’s layers consists of images of ‘suspension’, the act of waiting, repeated gestures, fragmentary behaviors that in themselves constitute no meaningful action. The second is the film’s secretive narrative mechanism. Esoteric glass objects, a confidential and extravagant celebration alongside a public fountain, and strange rituals become the medium of an assumed community, while also being a crack on the otherwise smooth and unconcealed surface of public space.