Film in the Present Tense


In spite of claims of its obsolescence, analog film is still alive. It continues to exist as an inimitable artistic medium, put to use in myriad forms around the world. Nonetheless, in the context of our ever-expanding digital landscape, analog film faces new challenges that have forced it into a process of deep transformation. What steps do we need to take to guarantee that analog film will remain as a living-breathing medium? What are the alternatives to the idea of film as an obsolete, historical object? What new forms will film take and what will that mean for the culture that surrounds it? How do we keep analog film in the Now?

Organised by LaborBerlin in cooperation with the Film Institute of the Berlin University of the Arts, Film in the Present Tense will bring together filmmakers, artists, programmers, technicians and representatives from museums, independent film labs and cinemas to address these questions and formulate ideas, possibilities and plans of action for keeping film current and alive. In addition to six panel discussions, there will be screenings and expanded cinema performances presenting some of the ways in which film continues to exist “in the present tense”.


SOUVENIRS by Mark Toscano

In English, a “souvenir” generally refers to an object that has some personal, referential, perhaps symbolic meaning. This meaning is usually linked to an experience, a place, a person, a time. A souvenir is basically an object connected to a memory. But in its original French, a souvenir can refer not only to this object, but also to the memory itself.

Film is possibly the ultimate souvenir, in the French sense, representing a memory, a memory-object, and the complex interaction between the two, spanning past, future, and present. This illustrated talk will seek to explore these dual, yet intertwined natures of the medium, as well as whether film itself may provide compelling evidence that there’s no such thing as a present tense.

Panel 1

What is the purpose of the film archive? And perhaps even more importantly, who is it for? All over the world, the transformations within the film industry have forced film archives to reassess their roles. On the surface, the public discussion has focused on digital vs. analog with the advantages and disadvantages that each one entails. Bearing this in mind, with this panel we want to push beyond this discussion and look at the practical reality of numerous archives around the world. They have enormous collections of film and it is unclear what the future existence of this material will look like. Will it be left to decay in vaults and inadequate storage rooms or will it be a living, open resource to the public? What does an open, public archive look like? Can the archive be used to build a film audience? What place does the personal, the independent and the non-government archive occupy?

Dr. Anna Bohn (Filmothek der Zentral- und Landesbibliothek Berlin, Germany)
Tiago Ganhão (Cinemateca Portuguesa, Portugal)
Juana Suarez (New York University, US)

Mark Toscano (Academy of Motion Picture Arts and Sciences, US)


It should not come as a surprise to anyone to hear that the knowledge of motion picture filmmaking is rapidly disappearing. However, until very recently the type of knowledge that was being put into practice was quite particular: one that functioned according to the technical demands and standards of the film industry.

The ontological nature of motion picture film prescribes another type of knowledge that at this present time has surged to the foreground and cannot be replicated by the digital; not only due to the mechanical properties of the medium, but also because of the philosophical underpinnings of the analog workflow. Choosing to work with analog film today, means having to reckon with the inherent qualities of the medium, which is to say, having to deal with – among others – chance, uncertainty, decay, failure, the non-standard and the impermanent. In our present time, adopting film as a medium implies the ability to create a very particular relationship with these qualities. What is the state of this knowledge right now? And where does its transfer take place? Is it in the independent lab, the university, the archive, the museum? How and in what form can the knowledge of motion picture film continue?

Nick Brandreth (George Eastman Museum, US)
Nicolas Rey (L’Abominable, France)
Philip Hoffman (Film Farm, Canada)

Stefanie Schulte Strathaus (Arsenal – Institute for Film and Video Art, Germany)


Film is a physical medium. As a perforated stripe coated with light sensitive emulsion it has a material existence. Although “film” is now used as conceptual support for various cinematographic events, its substance has been defined by its physical qualities as a carrier of moving images.

Since the material of film is no longer demanded at the massive industrial scales of the recent past, the numbers of film stock manufacturers and the variety of raw film formats have declined. Analog film has changed from a cheap mass product to a limited resource, to the point that rare types are hoarded and production strategies, which were once commonplace, are now impossible. At the same time, old emulsion recipes are being resurrected and entire production plants are being reactivated. Artists are producing their own film emulsions and experimenting with the basic ingredients of film at the artisanal level. In the face of these developments, how should we consider the materiality of film? Can analog film exist if its industrial production ceases completely? How does the relationship of artists to the concept of “analog” shape the way in which film moves forward as an artistic medium?

Nicola Baldini (FILM Ferrania, Italy)
Esther Urlus (Filmwerkplaats, Netherlands)
Emmanuel Lefrant (Light Cone, France)

Martin Reinhart (Filmmaker, Austria)

Panel 4

For over a century, the ritual of film exhibition remained at its core unchanged: a dark room, a screen, an audience and a mechanical apparatus pulling a strip of film through a gate in front of a shuttered light. At present, however, the mechanical film apparatus is no longer at the center of the cinematic experience. While some seek to maintain its role within the cinema, the film projector has acquired new prominence in different settings: the museum, the gallery, the art space, and the music venue, among others. Although the experience of analog film projection continues to exist, these new locations suggest a transformation of its value and meaning. For both, artists and their audiences, the analog as a place of encounter continues to be redefined. Is there a sustainable future for analog projection? Which conditions are needed, and which projection sites are suited for its lasting subsistence? What kind of structures must be created to foment a knowledgeable and supportive audience?

Dr. Erika Balsom (King’s College, UK)
Katia Rossini (Cinema Nova, Belgium / Kino Climates)
Christopher Mondt (Filmprojektion Mondt, Germany)

Shai Heredia (Experimenta India / Srishti Institute of Art Design & Technology, India)


It was the existential question par excellence: analog or digital? Which format is more beautiful, faster, better? Until very recently, it seemed like the dispute had been settled with the digital emerging victorious.

The verdict went like this: in the short term, for the nostalgic, the qualities of analog film should be regarded as aesthetic ornaments which could easily be emulated by digital means. Eventually, the imminent arrival of a new generation of filmmakers, themselves digital natives, would finally make the digital supreme and the preeminence of analog film could be regarded as no more than a historical anecdote. But what if this means jumping to conclusions? What if this situation presents conditions for the beginning of a new cooperation? With analog film no longer subject to the requirements of the industry, is it possible to see a new space for the creative co-habitation of the digital and the analog? What form could this relationship take? Is there a possible analog-digital hybrid state and what could it mean for the production and distribution of moving images?

Olga Moskatova (Bauhaus Universität Weimar, Germany)
Prof. Dr. Christa Blümlinger (Université Paris 8, France)
Guy Edmonds (University of Plymouth, UK)

Dr. Kim Knowles (Aberystwyth University, UK)

>> Berlin University of the Arts [Grunewaldstraße 2, 10823 Berlin]



Memory is extraordinarily imperfect and subjective, functioning as a prismatic, personalized response/record of experience, augmented by innumerable other external and internal factors. Film is quite similar, bearing witness to and being uniquely and unrepeatably marked by experience even before the filmmaker begins to create something from its material. The end result – a film – is a holistic articulation of these numerous, intertwining qualities of experience, memory, presence, awareness, intentionality, chance, and the unknown. Personal film records, such as home movies, carry rich layers of meaning and poignancy, even when they’re not images from our own lives. I’m convinced this has something to do with the intimate materiality of the medium – not only because of our awareness of film as a tangible object, but also because like a body and a consciousness, it is capable of experiencing something, physically capturing some aspect of it, and replaying it back with a strange and endlessly variable relatability.

This program brings together a series of films which speak to these deeper notions of film as a participant in memory and subjective experience. They are also all films about people: family, friends, and communities of significance to the artists, who used the medium of film in various ways to relate their feelings, thoughts, and memories about those people to a roomful of receptive strangers.

Curated by: Mark Toscano
Films by: Bruce Baillie, Tacita Dean, Roberta Friedman & Grahame Weinbren, Barbara Hammer, James Otis, John Price, Chick Strand

>> Arsenal – Institute for Film and Video Art [Potsdamer Straße 2, 10785 Berlin]


The Elastic Now is a programme daring us to be of and in the present. Probing interrelated temporalities – individual and collective, technological and societal – these are films that have inscribed themselves in our recent memory. They reside in an “elastic now“, one that we carry with us to the cinema, formed by multiple strata of connections to both ends of the present – the past and the future. The films of this programme are indebted to ethnographic and essayistic documentary filmmaking, to structural film, to found footage appropriation, to Super 8 post-punk playfulness, and bold explorations of narrative. A common current is a pleasure in their respective analogue shooting formats’ means to negotiate a sense of presence and immediacy. Together they offer a glimpse into the work of artists and filmmakers engaged in an analogue film practice which is as varied and vital as ever.

Curated by: Peter Taylor, Philip Widmann, Ulrich Ziemons
Films by: Anouk De Clercq, Shumona Goel & Shai Heredia, Elke Marhöfer & Mikhail Lylov, Camilo Restrepo, Miko Revereza, Fern Silva

>> Arsenal – Institute for Film and Video Art [Potsdamer Straße 2, 10785 Berlin]


The basic elements of projection – frame, screen, theater – have always been constructs, historically at the mercy of subjective propriety and commercial interests. For decades, the live manipulation of analog projection has provided artists with an opportunity to push beyond the physical limits of the traditional frame and the commercial screen. In this program, we present works that transform sound, image and space to create unrestrained, exuberant and wide-open cinematic events.

Curated by: Anja Dornieden, Juan David González Monroy, Julian Ross
Works by: Britt Al-Busultan, Sally Golding, Scott Fitzpatrick, Guy Sherwin, Zeropixel

>> Circular Economy House [Rollbergstr. 26, 12053 Berlin]


Tickets are now available here!


Film in the Present Tense is the closing event of RE MI.

RE MI is a two-year European cooperation project run by Mire (Nantes, FR), WORM.Filmwerkplaats (Rotterdam, NL) and LaborBerlin (Berlin, DE), focused on the creation, preservation and circulation of technical knowledge of analogue film in order to support its use as a creative medium.

Congress language is English.

Download our Presskit in English or German:



Funded by:



She Tales

Date: Friday, June 30 2017
Doors open 8 pm
Films start 9 pm
Location: Ausland – Lychener Str. 60, 10437 Berlin


She Tales is a collective screening from both past and present female members of LaborBerlin. The wide spectrum of analogue methodologies in this non-thematic screening reflects the diverse constellations of conceptual and aesthetic pursuits of filmmakerin working at LaborBerlin.


Clara Bausch

Blurred II
Sari Maarit Cedergren

Oração ao Tempo
Melissa Dullius

Katrin Eissing

Work in progress
Laurence Favre

Luisa Greenfield

Self portrait as self care as war fare
Imogen Heath

Personal Space
Margie Medlin

A dream of becoming 24 eyes, 4 paralell brains & 360 vision
Doirean O’Malley

Deborah S. Phillips

Sea of Vapors
Sylvia Schedelbauer

Beyrouth, Automne 2005
Leïla Saadna

Work in progress_copie zéro
Sophie Watzlawick

We Live In Cities/Life Without Buildings: Films by Steve Polta

Date: Friday, June 9 2017
Screening: 8:30 pm
Location: LaborBerlin, Prinzenallee 58, 13359 Berlin

Polta—A House Full of Dust

LaborBerlin is proud to host Steve Polta, who will join us in person to present a screening of his films on Super 8 and 16mm.

“Bay area artist Steve Polta, who has been producing a body of films, mostly on Super 8, over the past two decades that are as exquisitely nuanced as they are rarely seen. Each film presents a narrow window onto the ordinary world, prodded by subtle observation until it yields images of ethereal beauty.” (Rick Bahto: Echo Park Film Center)

Red Sketch (1997); Super 8, color, sound, 6 min
Interval Oakland 99 (2000); Super 8, color, silent, 3 min
Departure (1997); Super 8, color, sound, 7 min
Picture Window (1996); Super 8, color, sound, 10 min
Minnesota Landscape (1997); 16mm; color, silent, 10 min
Estuary #1 (1998); Super 8, color, sound, 10 min
The Berries (2000); Super 8, color, silent, 3 min
Summer Rain for LMC, side A (2007/2011); Super 8, color, silent, 3 min
Summer Rain for LMC, side B (2007/2011); Super 8, color, silent, 3 min
A House Full of Dust (2007); Super 8, color, silent, 10 min

Steve Polta —sometimes filmmaker, former San Francisco taxi driver— is the Artistic Director of San Francisco Cinematheque. He holds a BA in Film Studies from UC Berkeley, an MFA in Filmmaking from the San Francisco Art Institute and a Masters of Library and Information Science degree from San Jose State University. His writings on film have been published in INCITE! A Journal of Media and Radical Aesthetics; Radical Light: Alternative Film & Video in the San Francisco Bay Area 1945–2000; and Un­Dependently Yours: Imagining a World Beyond the Red Carpet. His own films have screened in film festivals and alternative film venues all over the place, including Anthology Film Archives, Black Hole Cinematheque, the Echo Park Film Center, Chicago Filmmakers, the Images Festival, the Museum of Modern Art (New York), the New York Film Festival’s Views from the Avant-Garde, SFMOMA, Pacific Film Archive, the Pusan Film Festival the Robert Beck Memorial Cinema and the Whitney Museum of American Art. In 2014 he was awarded a fellowship by the Andy Warhol Foundation in support of research on contemporary and historic performance cinema; a year­long series based on this research was presented by Cinematheque in 2016.

Steve Polta’s presence is supported by



LaborBerlin Opening

Date: Saturday,  May 6 2017, from 4pm on
Location: LaborBerlin e.V., Prinzenallee 58, 13359 Berlin

Collage_Ankunft der Maschinen_small

Friends, friends of friends, sons and daughters of friends, supporters and prospective members!

Please join us for the grand re-opening of LaborBerlin! After the success of our crowdfunding campaign FILM AIN’T DEAD we want to share with you the fruit of our collective efforts. We will also introduce our collaborative project REMI with films by our partner labs Filmwerkplaats (NL) and Mire (FR). Have some food and drinks, take a tour, have a look at our wonderful new facilities, watch films or just hang out with us and have a good time!

REMI Program (8pm):
TEST LOOPFACES – Antoine Ledroit + Pierre Pierre Pierre (35mm I approx 5’)
UNTITLED (MOROCCO) – Laure Peigné (Super 8 | 3’22″)
- Judith van der Made (16mm | 2’37″)
EVERY PRIMITIVE SPACE COMMUNE - Marcy Saude (16mm | 2’50″)
COLLÉ-SERRÉ – Carole Thibaud (16mm I 3’30″)
L|R-INTRODUCTION - Will Rifer (16mm I 2’10″)
UNTITLED – Stéphane Racine (Super8 I 5′)
CORTOPUNK – Carole Thibaud (Super8 transferred to digital I 3’18″)
UNTITLED (24XH2O) REDUX  (PRODUCER’S CUT ) – Thomas Chatard + Antoine Ledroit (35mm I 5’)
THE CAPTURED LIGHT OF AN INSTANT - Lichun Tseng (35mm | 20′)
SILLAGES#2 – Antoine Ledroit & Aurélie Percevault (16mm I 5’20″)
THEN LET’S KEEP DANCING – Aurélie Percevault (16mm I 2’)
DELETION - Esther Urlus (35mm | 12′)

And on Sunday (May 7), to cap off our celebration, LaborBerlin members, Philip Widmann, Bernd Lützeler, Anja Dornieden and Juan David Gonzalez Monroy will be presenting their latest films in a special screening at Arsenal at 4:30pm.

Arsenal Program:
DAS GESTELL – Philip Widmann (Super8 transferred to digital I 30′)
HELIOPOLIS HELIOPOLIS – Anja Dornieden and Juan David Gonzalez Monroy (16mm I 25′)
CAMERA THREAT – Bernd Lützeler (35mm & DCP I 29′)

Join us!



Silent Green Kulturquartier – Gerichtstraße 35, 13347 Berlin
Doors open 19h30 starts at 20h – Admission: 8 /10 Euro

LaborBerlin e.V. is pleased to present the 7th edition of DIFFRAKTION, the annual showcase of new film works by its members and special guests.

This year’s DIFFRAKTION welcomes two guests. The Austrian artist-run film lab, Filmkoop Wien will present a program of films made by members of their artist-run film lab and, London-based artist, Sally Golding will perform an expanded cinema piece where light and sound play off each other to create new perceptual possibilities.

LaborBerlin e.V. will show a program of new films and film performances by members, all shot on film and projected in various formats ranging from super 8, 16mm, 35mm to digital. As always the films range widely in thematic approach yet they all explore the unique and ever expanding qualities of analog film.



Viktoria Schmid

8 PM – Cinematic Illuminations from Vienna
Works from the Filmkoop Wien presented by Noel Dinse, Viktoria Schmidt and Michel Strümpf

The Filmkoop Wien provides a unique space in Austria for independent work with analog film. Since its foundation in 2008 by graduates of the Friedl Kubelka’s school for independent film, it has created a bridge between the viennese art and film scenes.

Cínematographe by Rosa John 2012/2016/ Super8/ 1 min
Jícaro by Rosa John 2016/ 16mm/ 2min
Ghost Copy, Found Footage by Christiana Perschon 2016/ various film formats transferred to video/ 2 min
Numb by Isabella Brunäcker 2016/ 16mm/ 4 min
Ferragosto by Alina Tretinjak 2016/ 16mm blow-up from Super8/ 2 min
Manuell by Theo Maier 2016/ 16mm/ 3min
Untitled by Noel Dinse 2016/ 16mm/ 3 min
Water from Grain by Josephine Ahnelt 2013/ 16mm blow-up from Super8/ 13 min
In seiner Form eingeschlafen by Antoinette Zwirchmayr 2016/ 16mm/ 3min
Square Dance, Los Angeles County, California by Sílvia das Fadas 2013/ 16mm/ 9 min
Pushing it by Stefanie Weberhofer and Renato Unterberg 2014/ Super8 & 16mm transferred to video/ 3min
Trailer Filmkoop Wien by Stefanie Weberhofer

Attempt to film wind by Viktoria Schmid 2016/ 3x 16mm loops



9 PM – New Films and Performances by members of LaborBerlin

A Soundfilm by Bernd Lützeler 2017/ Super8/ 5 min
Mosaïc by Deborah S. Phillips 2001/ 35mm/ 14 min (1st roll)
Blurred I + II by Sari Maarit Cedergren 2016/ Super8/ 3 min
Twilight by Björn Speidel 2017/ 2x 16mm/ 5 min
The Sea of Shame by Klara Ravat 2016/ 16mm transferred to video/ 6 min
Resistance by Laurence Favre 2017/ 16mm/ 10 min – Work in progress
Kairos und KungFu-Modelle der Unendlichkeit 2 by Katrin Eissing 1997/2017/ 35mm/ 6min
Fultu Faltu Film by Bernd Lützeler 2017/ 35mm/ 2 min
Projekt-Union by Dr. Globus & die Projektionen 2017/ Super8/ 3min
New Museum of Mankind by Anja Dornieden & J.D. González Monroy 2016/ 2x 16mm/ 30 min



11 PM – Light Begets Sound by Sally Golding

Light Begets Sound is a durational performance focussing on the phasing of both 16mm projector and LED lights, articulated through custom software and custom built light sensitive instruments. On the nature of listening and seeing, the piece investigates audiovisual hallucinogenic perception through mixing desk input and feedback, and analog and digital light combinations onto a prepared screen.

Various Positions: Works from Double Negative

Date: Wednesday, November 16 2016
Screening: 8:00 pm
Location: bi’bak, Prinzenallee 59, 13359 Berlin
LaborBerlin is proud to host Philippe Leonard from Double Negative in Montréal. Philippe will be showing the program “Various Positions”, which gives a glimpse of recent films made at this artist-run film lab.

With films by Philippe Leonard, Charles-André Coderre, Erin Weisgerber, Malena Szlam, Karl Lemieux and David Bryant, Shannon Harri and Eduardo Menz.

Pilot Residency – Andrew Kim

LaborBerlin welcomes Andrew Kim as our first Artist-in-residence. Within the residency, Andrew will take advantage of our Crass Animation Stand and create a new work exploring the machine’s artistic possibilities.


As a compliment to his production work, Andrew will also lead a workshop (tba) and present two screenings which will feature his own films and a selection of films made by fellow Los Angeles based filmmakers.

July 15, 7pm – Frame, Re-Frame at Arsenal

July 24, 8pm – Oracles at Light Movement

Andrew Kim is an experimental filmmaker whose work is inspired by the material properties of cinema and its unique ability to exemplify abstract ideas and ineffable feelings. Combining formal experimentation with a concern for the phenomenology of the cinematic experience, Andrew’s films are an attempt to understand the movement of the mind. Ultimately, his films attempt to transcend the exact mechanics of motion pictures such that a film might articulate a new kind of knowledge.

His films have screened at a variety of venues and festivals including the Ann Arbor Film Festival, International Film Festival Rotterdam, Festival du Nouveau Cinema (Montreal), Images Festival (Toronto), BAFICI (Buenos Aries), UnionDocs, and Los Angeles Filmforum, among others. Andrew lives in Los Angeles, California. There he is a staff member at the Echo Park Film Center and teaches film production at the California Institute of the Arts.

He will be in Berlin from July 10 until August 10.


Analogue Zone Finale: A festival about analogue film practice

Save the date: Analogue Zone Finale
June 16-19, 2016
Berlin / Cairo / Athens (2012-2016)

The project ANALOGUE ZONE (2012-2016) closes with film screenings at the Arsenal – Institute for film and video art and an exhibition, performances and a panel discussion at LaborBerlin / PA58 (Prinzenallee 58). An event with international guests – 16.06-19.06 2016.


ANALOGUE ZONE is a long term project based on a celluloid film training program, involving more than 40 film makers, artists, and amateurs from Egypt, Germany, and Greece. It took place in Cairo and Berlin between 2012 -2016. The workshops resulted in the collective production of around 30 analogue films which both document and bear witness to the initial questionings and responses of a generation of artists to the transition taking place in the region, and particularly Cairo.

The ANALOGUE ZONE FINALE presents films, film performances and film installations, which were produced during the program. The event opens on Thursday, the 16th of June with an exhibition and a book- and DVD publication connected to the program. Two film screenings at the Arsenal will show Super 8 and 16mm works of the participants. Highlight of the event takes place on Saturday, the 18th of June with panel discussion followed by a garden dinner and an performance evening at LaborBerlin’s new location at Prinzenallee 58​. The program consisted of three intensive, mostly practical workshops.

The first workshop established the first independent film lab in Cairo at the alternative film centre CIMATHEQUE through comprising 8 and 16 mm shooting and editing facilities, a processing laboratory, archive library, and screening facilities. During the workshops in Cairo and Berlin practical and technical knowledge about analogue film was mediated methodically, so the Egyptian participants got professional transporters of this knowledge. During the last workshop transnational collaborations were realized.

ANALOGUE ZONE is based on an intensive exchange between the independent film associations LaborBerlin and Cimatheque (Cairo) in cooperation with LabA (Athens). The project​ is funded by the European Cultural Foundation and the Senat Berlin​.​



Thursday, 16. of June

Place: LaborBerlin (Prinzenallee 58)
7 pm. reception, exhibition opening

“Analogue Zone” with works by Clara Bausch, Louly Seif and presentation of the ANALOGUE ZONE DVD.

– download detail info about 16/06 here!

Friday, 17. of June

8pm. film screening at the Arsenal Cinema (Potsdamer Straße 2)

A Stroll Down Sunflower Lane, Mayye Zayed, Egypt / Al Maraya, Gustavo Jahn & Melissa Dullius, Germany/ Egypt / ii, Theofanis de Lezioso, Egypt/ Greece / Acapella, Islam Safiyyudin Mohamed, Egypt / And the smile is red on red, Clara Bausch, Egypt/Germany / Apt. 5, Sama Waly, Egypt / Corner, Maged Nader, Egypt / The Panel, Vassily Bourikas, Egypt/Greece

– download detail info about 17/06 here!

Saturday, 18. of June

Place: LaborBerlin (Prinzenallee 58)

4 pm. panel discussion (Engl.) “Transnational collaboration projects and their sustainability” with Hana Al Bayaty, Sarah Rifky, Vassily Bourikas, Michel Balagué ​followed by a discussion with the Analogue Zone participants​

7 pm. Garden Dinner (please rsvp. to

9 pm. performance evening performances by Anja Dornieden & Juan David Gonzales Monroy, Sarah Rifky

– download detail info about 18/06 here!

Sunday, 19. of June

8pm. film screening at the Arsenal Cinema (Potsdamer Straße 2)

A Working Copy, Islam El Azazzi, Egypt Germany / Color Me, Ahmed Nour & Asma Abdallah, Egypt / Portraits, Maged Nader, Egypt / Falling into Oneself, Islam Safiyyudin & Tarek Hefny, Egypt / Love has other colors, Aida Elkashef & Laila Sami, Egypt / Dream Number 2, Amr Wishahy, Egypt / Plan B, Tarek Zaki, Egypt / ​​And round we go, Ian Douglas, Egypt / Triangulum, Gustavo Jahn & Melissa Dullius, Germany/ Egypt/ Brasil Artist and initiators of the program: Michel Balagué, Hana Al Bayaty, Tamer El Said, Vassily Bourikas, Islam el Azzazi, Maged Nager, Sarah Rifky, Gustavo Jahn, Clara Bausch, Juan David Gonzales Monroy & Anja Dornieden will be present.

– download detail info about 19/06 here!



ANALOGUE ZONE press ​contact:
Linn Löffler,, 015902837328
Elsa Geißler,, 017814433

FILM AIN’T DEAD – Expanded Cinema at Spektrum

Date: Saturday, March 5 2016
Screening: 20:00
Location: Spektrum | art science community, Bürknerstr. 12, 12047 Berlin

In the earliest days of film, every screening was a performance; projectors were hand-cranked, sound was performed live. Today outside of the multiplex, analog filmmakers carry on the tradition of film as a unique experience.

For the third event in the LABORBERLIN 2.0 – FILM AIN’T DEAD crowd-funding initiative we’re happy to present an evening of expanded cinema created by LaborBerlin members and friends. Come and experience film beyond the limits of the single screen. Multiple projectors, multiple screens, live sound, and the warm glow of celluloid await you. Don’t miss this unique opportunity to see film alive before your eyes.

All proceeds will be added to our campaign. Join the movement! Spread the word! FILM AIN’T DEAD!

Preto & Branco (c)Distruktur, 2015


BRIDGES TO CROSS by Deborah Phillips in collaboration with Ibrahim al Harasch (2016 I 10 min I 2 x slide projectors)
PRETO E BRANCO by Distruktur in collaboration with Chatschatur Kanajan (violin + eletronics) (2015 I 10 min I 2 x 16mm)
APOCALYPSE FOR YOU by Anja Dornieden & Juan David González Monroy (2014 I 20 min I 2x 16mm)
DEMAIN by Igor Buharov, Guillaume Cailleau and Michel Balagué in collaboration with Amélie Legrand and Tatsumi Ryusui (2016 I 20 min I 16mm, Super8 & digital projection).


Photos: Bernd Lützeler & Arne Hector