Semana_Festival de Cinema 9aSEMANA_CATALOGO_WEB | Page 120

ANACHRONIES
revolutionary dream, the massacre of the black community; these
events insist on imposing their strength, to still be present. Each of the
eleven episodes that marked the history of the state of Illinois since the
seventeenth century engenders a unique formal treatment. It is as if the
irreducibility of the historical event imposed upon the artist an equally
rigorous imperative: the intransigent invention.
Contemporaneity is also a sensitive continent: there are emotions that
we can experience every day and many others that are left behind,
forgotten or denied to us on a daily basis, on all canvases. Scott Barley's
cinema is closer to J.M.W. Turner’s nineteenth-century painting than
any other filmmaker of his generation. An immersive and hypnotic
experience, Sleep has her house engages in the imprecision of the
landscape to forge the hypnotic inconsistency of sensations.
Given the univocal appearance of reality, to disorganize the
arrangements of the world (Eduardo Williams); facing the urgency
of struggle, forging an anachrony (Sylvain George); in view of the
programmed obsolescence, to insist on the life of images that are about
to disappear (Mónica Savirón); before the daily erasure of the past, to
glimpse the movement of the present (Deborah Stratman); facing the
hegemonic perceptual schemes, to refound the sensibility (Scott Barley).
Anachronies is an invitation to rediscover, in this present continuous
time, another form of bond: the cleft of invention.
1 Thank you note: the process of constructing this program was also anachronistic. At
a time when even smaller films need to get more and more involved in bureaucratic
distribution schemes to reach the audience, the filmmakers present at the selection, in
attitudes of extreme generosity, have entrusted us with their films for free. To them, my
deep gratitude, with the desire of a future reunion in more favorable conditions.
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ANACHRONIES