duration: 20' source formats: 16mm, 8mm, video production format: 16mm distribution format: 16mm, color and BW, optical sound
The buddhist master Dōgen writes: “When bearing a child, do parent and child emanate together? (…) You should study and penetrate how the time when parent becomes child is the practice and realization of bearing a child.”
My transformation from child to parent was like an endless cycle of resistances, including going from digital filmmaking into the underworld of laboratory based work. Every obstacle possible came my way and I embraced them all.
The writing that accompanied me on this journey ended up becoming the film itself: writing as film/film as writing, image as text/text as image. The relentless flow of life passing through…
technical notes, credits
All of Rites was developed and assembled in Labo BxL (artist-run lab in downtown Brussels), L’Abominable (collective lab for preserving heritage formats, La Courneuve, Paris), MTK Grenoble (hosted by Etienne Caire), and L’Atelier de la Senne (Brussels).
Original formats: BW 16mm reversal film, BW and color 16mm print film, 16mm color negative film, DV video, 8mm color negative Projection format: 16mm, optical sound, BW and colour
Produced by Visualantics Photography, printing and text - Miki Ambrózy Edit - Fairuz, Miki Ambrózy Editing advisors - Els Van Riel, Andreas Hannes Negative cutting - Mariette Michaud Photochemical engineering - Etienne Caire, MTK Grenoble Typography - Salome Schmuki Sound design - Boris Debackere, Miki Ambrózy Composer - Kostas Chanis Sound camera - Guillaume Mazloum Technical support - Boris Belay
Produced by Brecht Debackere Produced with the financial support of the Flemish Audiovisual Fund (VAF)
Fascinated by the pulsing, running nature of projected film, I begin to assemble traces of words, objects, meanings and impressions and print them onto film. Hidden within these gestures lies my wish for a state of serenity. The pieces of film pass through my hands: in search of balance between word and image. They move along our obsolete machinery in the filmlab. Even when I resist, the traces keep generating.
Written over the period of two years, Rites of Resistance is based on a loose collection of autobiographical poems. Through a method of distillation, I have been driving towards a minimum of language that would satisfy my self-imposed criteria for a sincere text, one that manifests without self-consciousness about matters of the everyday. I used 16mm experiments with film to feed my desire to re-print text, meaning and image in a simple, direct form, without the paraphernalia of narrative construction. When I give no intention to my words, something starts moving inside the text.
As every artist working with celluloid knows, film commands its own time of making - I believe this is a force more decisive than the often mentioned fragility of celluloid. Rites is a handmade film which feeds on the never-ending joy of watching an image materialize, of viewing a strip of film straight out of the dryer, of evaluating a result in the light of experience. A pulsing, running experience - on the path of looking for solutions that lead to new problems.
Fabric of Time
Fabric of Time (Foszló idő) was filmed as part of a personal research into memories and traumas in my family’s constellation. Taking fragmented elements such as our family photo archive, KGB-style bugged telephone conversations, abandoned and crumbling physical spaces where we grew up, and the ruthless Soviet-style gymnastics ritual of my father, the film constructs a poetic reflection on how memory is constructed and how fate runs through a Central-Eastern European family.
Written and directed by Ambrózy Miki Performed by Ambrózy György, Ambrózy Virág, Darvas Ilona Katalin, Alexis Tsiamoglou, Caroline Daish, Maxim Daish-Belay Photographed by Boris Belay, Ambrózy Miki (Hungary) Cinematography by Sebastien Koeppel (Belgium)
Sound mastered by Patrick Codenys Edited by Rudi Maerten Music by Kostas Hanis Choreography by Andreas Hannes
Screenings & Awards
Winner of the Wildcard for filmlab in 2013 (Vlaamse Audiovisueele Fonds)
Avant-Premiere | Cinema Aventure: Four Films | 16/10/2013 | Brussels, Belgium | Masters Screening | Sintlukas-Gallerie (in a loop) | 29/10-8/11/2013 | Brussels, Belgium | VAF Wildcard (filmlab) Screening | International Short Film Festival Leuven | 7/12/2013 | Leuven, Belgium | SIC Public Presentation 2013 | 19/12/2013 | Beursschouwbourg, Brussels | East in the West – Short Films by Graduates – Balassi Institute Brussels | 30 January 2014 | Extrapool Nijmegen: The Cinema of Gestures| 15 February 2014 | Athens Video Dance Project (“Endgame”) | 23 February 2014 | KASK cinema Het grote ongeduld xtra | 27 February 2014 | Ghent, Belgium | KK Gallery Brussel Selectie Belgische eindwerken experimentele kortfilm & multimedia| 20 March – 3 April 2014 (in a loop) | Le Cube: Anthropologies Numériques 2ème edition| 19 March 2014 | Paris, France
Fabric of Time
2013 (c) Miki Ambrózy
16mm color, DCP, 7 minutes
Endgame is a performative re-enactment of childhood memories, with three performers and the 16mm film camera on the dolly as the fourth performer. As a cinematic experiment, the film implicitly talks about the author’s point of view on his family’s history and domestic conflict, while constructing memories for the years purposefully forgotten. The subtle, piercing music of Kostas Hanis completes the experience of the beauty and horror of the gestures of a breaking relationship.
Directed & written by Miki Ambrózy Choreographed by Andreas Chanis Performed by Alexis Tsiamoglou, Caroline Daish, Maxim Daish-Belay Cinematograhy by Sebastien Koeppel and Boris Belay Live sound performance by Patrick Codenys Sound mixing by Patrick Codenys Edited by Miki Ambrózy
The One to be Taken Home is the first of my series on family and memory. It is a video work I made while spending some weeks with a Medanese family at a temporary urban settlement in North-Sumatra.
In the work I attempt to become part of a place unknown - to explore a landscape like a naive ethnographer, if that's possible at all. The film invites the spectator to experience simply being there, sitting by and walking with the family members.
After this film I chose to abandon the idea of the documentary form in favour of more implicit forms of the moving image.
Image/Sound/Direction - Miki Ambrózy Artistic coaching/sound mixing - Patrick Codenys Music compositions - Janis Strapcans Editing coach - Ben Russell Produced with the support of the SoundImageCulture workspace
Notes to the film
Julie told me she was 12. I first saw her on Youtube in a video made by a group of older street musicians. They portrayed the heroic nature of being an anak jalan, or child of the street.
The choice to focus on the evils of the world in one place instead of another is contingent. We, humans, seem to go where we feel we are needed, where our sense of purpose is felt, lived, satisfied.
Through this video work I attempt to participate in the dynamic of one place. My intention is maybe naïve or futile: to explore the unknown with the unconditional seeing of a child, not having a shared language to speak with. The only way for a lived experience of this nature was the utopic desire to become one kid among many, being their apprentice.
In the making, the video became a site of exchange between our vulnerabilities. My world was suddenly devoid of meaning beyond the intention to explore, and Julie’s vague, playful hope for a change of fortune.
The street is claimed by all of us, yet it belongs to none of us. My images are but associative responses to Julie’s singing, to her sense of ownership of the place, to her family’s way of being in the world, all in the imaginary frame of one night and one day.
What I wish for the spectator is to experience being there without recourse to narrativity or explanation. A transsensorial gesture that steps away from locked formats. Like a child, I follow the desire for unconditional seeing. Traditional modes of producing documentary knowledge must be peeled away: language, narration, synchronicity, and the visual base.
I knew the means and the end: HDV video, a few reels of super8 and 21 days between arrival and departure. The rest of the work was unknown.
Until the moment I was first told about the intersection.
HDV, 20 min. | experimental ethnographic video | 2013 (c) Miki Ambrózy
Five Lives by Silence
Five Lives by Silence observes the narrative of everyday life in remote corners of the Turku Archipelago. Using poetic association, the film creates a moving portrait on the subject of silence, loneliness and routine in the Finnish-Swedish summer landscape.
This film is produced by NisiMasa. Directed by Miki Ambrózy
Co-director & Sound Recordist | Nicholas Shaw Photography and Editing |Miki Ambrozy Additional editing & script | Begum Gulec Titling | Judit Kajel and Miki Ambrozy
Short documentary | NISIMASA (c) Miki Ambrózy, Nick Shaw, Begüm Gülec
Aution is a short experimental film about the connection between the body’s motion and sound. The presented textures, movements and soundscapes are part of an attempt to research the filmmaker’s fear of his own body through gazing at others.
co-photographed by Miki Ambrózy directed by Andreas Hannes | 2012