“Photofilms” are moving pictures comprised of still photographs. PhotoFilm!, the series, broadly explores the uses of still photography within the cinematic context, attempting to expand a dialogue between the two art forms that has existed since the beginnings of the motion picture. The works run the gamut from classics such as Chris Marker's La Jetée to new experimental films such as Shelly Silver's What I’m Looking For. The series is presented jointly with the National Gallery of Art, supported by German Films, Ag Kurzfilm, Swedish Filminstitut, and organized by the CNS e.V. Berlin. Curators Gusztáv Hámos and Thomas Tode will be present for discussion at the February 27 screenings. All films will be shown in English or with English subtitles or voice over. Tickets: $4/$7 6 – The Plasticity of the Moment And nowadays we often record a multitude of photos in a single moment. This permits us to observe the moment from different perspectives. This film program brings together films that appraise the surface of the photographic image, circling the moment and even entering it. (92 minutes) Transformation by Holding Time – Artist and his Muse Netherlands, 1976, 16mm, 4 min, Director: Paul de Nooijer We see a photographer taking Polaroid shots of his nude model on a sofa. He progressively attaches the Polaroids onto an invisible pane of glass right in front of the camera, until in the end, only this newly created photographic “mosaic” of the woman can be seen. Les Photos d'Alix France, 1980, 16mm, 18 min, Director: Jean Eustache Photographer Alix Cléo Roubaud shows her photos to a young man, talking about them as they look at them together. Each of the photos appears as a countershot. Yet after awhile, doubts emerge: We are not seeing what is being described. Ferment Great Britain, 1999, 35mm, 5 min, Director: Tim Macmillan The film begins with a moving image: A man has a heart attack and falls off a bench. Time and people come to a standstill. The camera glides away from this place, across the city, through streets, buildings, rooms and corridors, past situations that co-exist in this one moment. Kurashi Ato (Vestige of Life) Japan, 2009, HD, 12 min, Director: Maki Satake Satake visits her grandparents’ abandoned house. In the empty rooms she holds up photos of earlier visits and family get-togethers. The “image within an image” speaks of happiness and childhood, desire and memory, revealing the voracious time for what it actually was. Nijuman no Borei (200,000 Phantoms) France, 2007, 35mm, 10 min, Director: Jean-Gabriel Périot The film commemorates Hiroshima by following the changes in a single spot in the city throughout the 20th century: the Genbaku Dome Peace Memorial. In b&w and color, with constantly changing formats and angles, the film reveals the before and after of an unalterable moment. The Writing in the Sand Great Britain, 1991, 16mm, 43 min, Director: Sirkka-Liisa Konttinen The film collects snapshots on the beaches in North England, taken over a ten-year period. The camera, constantly in motion, tracks down the surface of the image without ever reaching to the edge of the photograph. A moment of happiness elongated.