Film or Power

Summary

Let's hope that one day power will become unbearable to all people.

I'm filming from a disadvantage. In every sense.

Although I did not film any details, everything seems to have been captured solely by a procedure characteristic of filming details. This is what happens when we worry about our own problems.

When someone asks me who I work for, I answer him by asking: Who are you poor for?

Even this movie was shot as if it was my last. And this time I have to find that I had nothing to say or show anyone. No thought, no advice, no understanding. I am convinced that this is one of the methods of making a film uninteresting.

Only the films that break the order are real. There is no other way to make movies today. The less successful a film is or the less it tends to be watched, the more unconventional it may be. Unconventional means not only the unknown, but also the uncomfortable, the repulsive.

An audience only exists when a person allows it to be addressed as a lower part of the body. A full movie theater means lower incentives. Every movie in the end must be a disgrace. (Vlado Kristl)

How to make images unusable for power? Vlado Kristl started a project of utopian art that resists every system, first his own after the experience of World War II, persistently moving here and elsewhere his "poor" line between the framework of lyrical abstraction and neo-constructivism, poetry, animation and film, painting, theater, multimedia and conceptual art. Positives and negatives, variants and variables, authority movies, anarchy houses, postmodern school, frame politics, picture-painting, death-painting, spectator death, Don Quixote, Prometheus, clone saga, utopias, some are of the distracting images from his studio for visual concepts.

"I received a letter: Your anti-state insult has been burned and we will hold you accountable. I fled to Germany. In the end, the system always wins. ”The manifestation of the film of distraction, a reflection of the uncontrollable anarchy of our world, is a film to insult the state The General and the Real Man. His exile sequel Poor People is on the same line of escape, on the transition from a prison society of discipline to an urban space of a society of poverty. The only way for the poor to try the right for the abandoned city if, in some repetition, they walk out the prison door (it seems we saw workers rehearsing their way out of the factory) is anarchy. But it's also a word from the system. Kristl stands for ich, provoking a man's "I": laughing against the generals, with the pot against the poor, grotesque about eros, film about film. The uprising erupts. Five, ten, twenty, fifty poor are holding a revolution in the big city and chasing a man with a tin can with the sounds of assault, cannon and gunfire. Around the movie, the real man composes and decorates their poses and gestures, motionless bodies with lines and surfaces of steps and walls. It is a paradox that everyone has a right to a film, including the right not to exercise that right. Only the film that dropped out of the system is a film. (Tanja Vrvilo)