FeKK SLO

In addition to fiction, this year’s programme includes a substantial amount of experimental films. They are the only segment with independent production, which is vital for film study, the use of new media, and vast archives such as the internet for artistic and critical purposes. If Super 8 liberated the camera movement in the 1960s, and if correction, double exposure, experimenting with video, and editing programs liberated the image captured on camera, then making films with internet archives of images or certain applications, and thus ‘filmmaking’, liberates its key components: cameras or recording devices. The task of the recording device to select or frame an image now goes to the editing program or the screen capture. Of course, the image’s source remains the most important aspect. As is common, some experimental techniques are adopted by professionals who are often fascinated by the smartphone aesthetics – a dynamic shot mid-action in which the camera can transition from omniscience to first-person narration.

As usual, FeKK SLO is accompanied by the regular Second Wave section. Its first part, Consuming Images, explores the status of images in all possible ways, ranging from image creators like Vilko Filač to the legal definition of the image. In the second part, we gave the floor to films dealing with one of the primary themes of this year’s applicants: partner relations.

We have assessed 170 short films, 17 of which were included in the competitive FeKK SLO and 18 in the Second Wave.

Matevž Jerman, Robert Kuret, Dora Trček