Atoosa Pour Hosseini

No synopsis available yet.

A documentary like no other. Starting with the bizarre practices and fantasies of a group of filmmakers working under the label Experimental Film Society, it spins off into a manifesto of light and sound. This dazzling journey through a view of cinema as cosmic ritual and erotic delirium is also an idiosyncratic celebration of the medium itself. Rouzbeh Rashidi’s ornate visual style unleashes a parade of visionary scenes that redefine movie magic as a fevered hallucination.

Homo Sapiens Project (200) was completed in 2020 as part of the 20th anniversary of Experimental Film Society. This eight-hour experimental feature is constituted from short film experiments made between 2000 to 2010. These films have already undergone many metamorphoses over the years. They were always restless wandering spirits seeking a permanent place of rest but so far without success. Each section of Homo Sapiens Project (200) was made under the unique condition of living out a form of subtle therapeutic practice. Collectively they reflect major life-changing events, formalistic mutations and thematic shifts within Rouzbeh Rashidi’s filmography. In spite of this, they could not find the peace of a satisfactory final shape. Indeed, they are about peace, something that rarely (if ever) exists within Rashidi’s work. But now, after twenty years of roaming the subconscious, they have come to rest in a permanent retirement in one world, one very personal floating planet.

Homo Sapiens Project (201) was completed in 2021 as part of re-envisioning and restructuring Rashidi's filmography. This nineteen-hour experimental feature is constituted from many feature films produced between 2002 to 2014. These experimental features were made as a type of test or trial experiment. Rashidi assembled the films from footage accumulated over the years, archival footage, found footage and rushes donated by his close collaborators.

A tale of people unfolds under the night sky. These doomed couples and lost individuals begin journeys and attempt to find resolution in their lives. Love is observed from a distance, sadness is in the air. With little sympathy for the loss and destruction caused to the characters, the stories progress and become neatly woven into a minimalistic portrayal of modern life.

An assortment of obscure private obsessions, conspiracies and perversions flicker on the verge of incoherence against the context of vast cosmic disaster in Rouzbeh Rashidi’s boldest film to date. This sensory onslaught combines a homage to the subversive humour of Luis Buñuel and Joao Cesar Monteiro with the visionary scope of a demented science fiction epic.

There is no escape… From one side of the globe to the other, there is no escaping the faces, the visions, the ever-watchful camera. There is no escaping the mask, there is no escaping the resonating echoes of images and sounds that cross each other over time. There is no escaping the cinema. There is no escaping the terrors of the mind. “A mysterious loner, perhaps a poet, journeys through a series of uncanny surrealistic landscapes with an unclear purpose. His adventure is divided into three sections. The main theme of this experiment is to compare the eerier qualities of different landscapes and interpose the characters within them, elaborating the project’s ongoing preoccupation with extracting sinister moods from ordinary settings. In a way, these can be seen as experimental horror films in which an atmosphere of dread is evoked and sustained without the expected narrative trappings.”

Phantom Islands is an experimental film that exists at the boundary of documentary and fiction. It follows a couple adrift and disoriented in the stunning landscape of Ireland’s islands. Yet this deliberately melodramatic romance is constantly questioned by a provocative cinematic approach that ultimately results in a hypnotic and visceral inquiry into the very possibility of documentary objectivity.

A documentary like no other. Starting with the bizarre practices and fantasies of a group of filmmakers working under the label Experimental Film Society, it spins off into a manifesto of light and sound. This dazzling journey through a view of cinema as cosmic ritual and erotic delirium is also an idiosyncratic celebration of the medium itself. Rouzbeh Rashidi’s ornate visual style unleashes a parade of visionary scenes that redefine movie magic as a fevered hallucination.

A documentary like no other. Starting with the bizarre practices and fantasies of a group of filmmakers working under the label Experimental Film Society, it spins off into a manifesto of light and sound. This dazzling journey through a view of cinema as cosmic ritual and erotic delirium is also an idiosyncratic celebration of the medium itself. Rouzbeh Rashidi’s ornate visual style unleashes a parade of visionary scenes that redefine movie magic as a fevered hallucination.

Layers both space and time, superimposing imagery and creating entrancing patterns of repetition and startling interruption. Voyaging from one land to another, from found footage to mysteriously evocative scenes shot by the artist to the pure abstraction of hand-scratched film, it traces a haunting inner logic of memory and discovery.

No synopsis available yet.

Figures emerge from and retreat back into the waters of the oasis, coming forward to greet the eye of the Super-8 camera. The scene initially appears idyllic. But the alien scrutiny of the artificial eye is sinister, at cold cross-purposes to the human warmth it brushes against.

No synopsis available yet.

No synopsis available yet.

No synopsis available yet.

"The artist looks at scenes of a woman (Pour Hosseini) and a man at the Iranian Maranjab Desert through the texture of a film strip on top of it, and through its sprocket holes. Dirt, flare, and red ink printed on the celluloid add to the images of the landscape a patina of optical illusions, even though the original moving images were, by definition, tricking the eye in first place." - Mónica Savirón, Museum of the Moving Image

No synopsis available yet.

"Then" examines the mysterious world that has been embedded in memory of time and space, a virtual universe which exits somewhere between reality and dream. Images in "Then" progresses and dissolves into another and creates a haunting audio / visual experience.

The masked female figures that wander adrift through Pour Hosseini’s intensely lyrical explorations of displacement find their most energetic form in the bird-woman at the centre of Kinetics. Shot in saturated 16mm colour, this dreamlike film follows a primeval female figure exploring an ancient landscape poised over an endlessly blue sea. She is at once alienated from and engaged by her surroundings, which suggest a site of self-discovery as much as one of profound disorientation.

No synopsis available yet.

Super-8 memories emerge and vanish into the imageless texture of scratched celluloid, an object at once very present and channelling long absent moments of ambiguity. A soldier allows a little girl to handle a gun, a machine like the camera that links a calm present with war and death. But who is watching this film? Whose footsteps are pacing? Who is invading and appropriating these memories?

No synopsis available yet.

Reminiscent of the ‘trance films’ of Maya Deren or Kenneth Anger, The Magic Circle unfolds in a timeless dusk where an archetypal sorceress ritualistically navigates magical circles. A double figure executing doubled gestures, the circles she engages with are also double: the protective circle of sand or fire surrounding the enchantress and the circle of the self-reflected through circular mirrors. Within the Magic Circle is the self, a place of fragile refuge that is also a nightfall where she constantly encounters and passes through herself. This unsettling and melancholy meditation is at once ornate and minimal, displaying Pour Hosseini’s mastery of light and composition to haunting effect.

A film of subtle poetics and expressive aesthetics achieved through the hypnotizing intertwining of archive and authorial footage, "Antler" erases the boundaries between fiction and documentary, introducing the viewer to a mysterious and, to a certain degree, fairy-tale-ish world of oneiric atmosphere. Formally seductive, and challenging to decipher, this "ecological fantasy" (for the lack of a more precise definition) transforms a botanical garden into a laboratory of evocative images and sounds, in a process that could be identified as alchemy.

The artist sits spinning wool at a site of memory as image and reminiscence fluctuate between the personal and the general, the pictorial and the material. Bodies wander, landscapes echo each other, and time is unwound through a carefully wrought approach to 8mm celluloid. Between the persistence and fragility of the moving image, the senses are refined.