Earlier in the month, we saw the first titles lined up for the 44th International Film Festival Rotterdam, running from January 21 through February 1 (almost the exact same dates as Sundance, by the way). That first round features a selection of best-of-the-fests titles slated for the Limelights section. Today, the IFFR rolls out a round of titles set for the first of two parts of its Signals program, “broken down into four sections with the theme of ‘contemporary reality’ connecting all four.”
24/7
Examining “what has become known as the ‘attention economy,'” 24/7 “will feature only one film screening in the cinema, Kevin Jerome Everson’s Park Lanes, an eight-hour observation of factory workers which will screen as a world premiere. Venturing out of the theater and into hotel rooms across town, compilation programs can be viewed, comprising short film works by Shambhavi Kaul, Lukas Marxt, Metahaven, Maria Luz Olivares Capelle, Gavin Hipkins and Leslie Thornton among others.”
EVERYDAY PROPAGANDA
Raising “the question of whether we are aware of constant exposure to propaganda in our daily life,” this program “will include Adam Curtis‘s Bitter Lake, No Country for Young Men by Oleg Mavromatti and PO98, Broken Land from Stéphanie Barbey and Luc Peter, Made in China by Kim Dong-hoo and War Book from Tom Harper plus a selection of short films from Pacho Velez.”
REALLY? REALLY.
Focusing “on Surrealism, its re-emergence, how we define it, how it has evolved since its birth in the early 20th Century, its place in the current climate and its effect on 21st Century culture,” this one features Roy Andersson’s Golden Lion-winner A Pigeon Sat on a Branch Reflecting on Existence, Veronika Franz and Severin Fiala’s Goodnight Mommy, Shinya Tsukamoto‘s “shocking war epic” Fires on the Plain, Quentin Dupieux‘s Reality, Franco Maresco‘s Belluscone: Una Storia Siciliana “and the world premiere of German Angst, by Jorg Buttgereit, Michal Kosakowski and Andreas Marschall.”
WHAT THE F?!
And this one “pushes us to examine the ways in which we are caught up in, or at least confused by, a diverse mix of ideologies that all go by the name ‘feminism.'” Luke Fowler and Mark Fell‘s To the Editor of Amateur Photographer and Laura Amelia Guzmán and Israel Cárdenasare‘s Dolares de Arena are the first titles set for this program.
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