Spain. 2006-2008, 9’, Color, Sound, 35mm.
FILM QUARTET / POLYFRAME is conceived as a small cinematographic bomb attempting to question the established definition of frame as the minimum unit of (cinematographic) time by dynamiting it in four fragments.
A step further in the so-called sub-genre practice of found footage film -recycled material- is also put forward for consideration in this project. The appropriationism applied in this work makes use of material found in Hollywood cinema (Singin’in the rain, Stanley Donen & Gene Kelly, 1952); Pink Panther; Buster Keaton; etc., the first avant-garde period (Un chien andalou, Luis Buñuel & Salvador Dalí, 1929) and American experimental film (Wavelength, Michael Snow, 1966-1967). Such method makes possible, therefore, to maintain image ecology while it provides an analysis of the history of cinema.
An explosive artifact has been inscribed as cinematographic notation on musical staffs in order to facilitate the interpretation and development of the piece beyond its mere projection. Such being the case, unchanging cinematographic would pushed for their reinvention-destruction-explotion.
This piece celebrates the 50th anniversary of A Movie (1958), by Bruce Conner (1933-2008).
· Premiere. Biennale du Cinéma Espagnol d’Annecy 25th anniversary (Annecy, France. March 2008)
· Award “Best Experimental Film”. Lucca Film Festival (Lucca, Italy. October 2008)
· Award “Pablo del Amo“ Best Editing. 18 Semana de Cine Experimental de Madrid (Madrid, Spain. November 2008)
· Section Extraterritorial. Centro Galego de Artes da Imaxe (CGAI) (A Coruña, Spain. December 2008)
· Program The Afterlife of Images PUNTO DE VISTA. Festival Internacional de Cine Documental de Navarra (Pamplona, Spain. February 2009)
· Finalist. EN.PIEZAS 09. La Casa Encendida (Madrid, Spain. May 2009)
· Official Section Competition. 63rd Edinburgh International Film Festival (Edinburgh, Scotland, UK. June 2009)
· TIE, The International Experimental Cinema Exposition (Lincoln, Nebraska, USA. September 2009)
· Official Program. 6th International Experimental Film Festival “Cărbunari 2009” (Baia Mare, Romania. November 2009)
· Official Program. Rencontres Internationales Paris/Berlin/Madrid (Paris, France. Nov. – Dec. 2009)
· Official Program 12a BAFICI. Festival Internacional de Cine Independiente de Buenos Aires (Buenos Aires, Argentine. April 2010)
· Official Program. Rencontres Internationales Paris/Berlin/Madrid (Madrid, Spain. April 2010)
· 3 Remakes inéditos + 1 / Antoni Pinent . La enana marrón (Madrid, Spain. April 2010)
· Official Program. Rencontres Internationales Paris/Berlin/Madrid (Berlin, Germany. June – July 2010)
· Sequence Cour Metrage (Tolouse, France. November 2010)
· Guest. First Biennial of Movement Image (BIM. Bienal de la Imagen en Movimiento) (Buenos Aires, Argentine. October – November 2012)
«I’ve seen FILM QUARTET / POLYFRAME several times and it continues to astonish me. I love films that bring out the plasticity of the medium and this film is a prime example – as illustrated for instance by the Super 8 frames that were individually removed. The film’s wide range of source material and extensive editing are impressive as is the sound track which combines the noise of the filmic material itself with the original sound of the footage: Great achievement! My favorite scene is the fall of the pole vaulter which is interwoven with particles of black frames – the image breaks into pieces as his movement gradually slows down. Amazing!» [Peter Tscherkassky, May 5th 2009]
«Antoni Pinent’s FILM QUARTET / POLYFRAME is a playful and sophisticated treatment of the material of film and the cinematic apparatus. The juxtaposition of Michael Snow’s seminal Wavelength shown in reverse with a roller coaster ride sets up one of many playful trajectories that Antoni creates across the genres and materials of the world cinema. The soundtrack, manipulation of celluloid, and the genres and styles of filmmaking compressed into this fabulous film.» [John G. Hanhardt, November 22nd 2009]
«FILM QUARTET / POLYFRAME invites its viewers to a found footage rollercoast-ride – with their seatbelts unfastened. Both powerful and sophisticated, energetic and playful, this film creates a stunning series of cinematic quakes and aftershocks affecting a broad variety of different spheres of filmmaking.» [Matthias Müller, November 14th 2011]