Sat• 25.09 • 19:00 – 20:50
Luru Kino: Spinnereistraße 7, 04179 Leipzig

curated by parasound III (FILZ film initiative, GEGENkino Leipzig)

The FILZ film initiative and the GEGENkino Leipzig once again present parasound III, a challenging, entertaining and experimental reel of short films whose soundtracks are characterized by special qualities. For the first time in cooperation with the Seanaps Festival, the compilation refers to the programmatic orientation of the discourse program and revolves around the audiovisual processing of collective processes of perception and action.

»{if your bait can sing the wild one will come} LIKE SHADOWS THROUGH LEAVES«
SGP/FIN 2021, R: Lucy Davis, 28', OmeU, DCP


In Singapore, one of the most densely populated states, a previously unnoticed area is becoming the starting point for displacement. In the hinterland of "Tanglin Halt," the oldest social housing estate, runs a railroad track that was in use until 2011. Over the decades, the space between the tracks, which is only a few meters wide, has become a refuge for over 100 different bird species and a social space where residents cultivate community gardens or practice animistic religious practices. Director Lucy Davis approaches this socio-ecological milieu, which she sketches in {if your bait can sing the wild one will come} Like Shadows Through Leaves primarily as an acoustic portrait.

JAP 2014, R: Tomonari Nishikawa, 2', without dialogue, 35mm.


Three years after the Fukushima Super-GAU, Tomonari Nishikawa placed a strip of raw analog film for one night in the area of the Daiichi Nuclear Power Station. The natural phenomena invoked in the title refer to the beauty of the night in which the material was exposed to the evacuation zone, and at the same time to the optical and acoustic impressions caused by the chemical-nuclear deformation, which can be experienced when playing the developed material.

TUN/FRA 2016, Dir: Ismaïl Bahri, 32', OmeU, DCP


For Foyer, the director deprives us of the pleasure of the classic spatial camera image by covering the lens with a white sheet of paper. A fluttering play of colors between gray and white unfolds, intermingled with the voices of passers-by who curiously circle this arrangement in the middle of the streets of Tunis. As if through a mirror, Bahri's setting throws the viewer's gaze back onto the camera as an actual encounter space that turns out to be as political as it is personal.

USA/IND 2020, R: Suneil Sanzgiri, 17', OmeU, DCP.


1989, the year of the filmmaker's birth, serves as the fixed point of this personal film poem about diaspora and decoloniality, solidarity and activism, memory and trauma work. In a complex polyphony of images, textures, colors, sounds, songs, poems, letters and dialogues, Suneil Sanzgiri interrogates the interweaving of his own family biographies into the complex history of India.