The inaugural Architecture Film Festival London competition received 154 submissions from 33 countries across the globe, competing for awards in four categories: Documentary Feature, Fiction Short, Experimental Short and ‘From Above’. The submitted films showed an impressive range of ways in which film and architecture can meet and inform each other, and shortlisting three films in each of the four categories was a difficult job, involving many tough choices. Competition director Anna Ulrikke Andersen and competition consultant Mark Breeze were impressed by the quality, vision and talent evident in the films, and are pleased to announce the following 12 shortlisted films.
The competition jury consisting of Dr. Penelope Haralambidou, Ollie Alsop, and Daniel Schwartz selected one winner in each of the four categories. This was announced at the award ceremony on June 8th, 4 pm, at Bargehouse OXO Tower Wharf, Bargehouse Street, SE1, London. All shortlisted films were screened as part of our official programme.
Feature-length, Max. 120min
Carmen Trocker, Germany/Italy, 2016, 61′
Since 2013, sculptor Hubert Kostner has resided in a house-cum-workshop designed by the architects Sandy Attia and Matteo Scagnol: a dwelling marking a conceptual departure from the more traditional buildings nearby. Das Haus recounts and analyses the divergent approaches that combine, conflict, or contain this new architecture: tradition, the present day, the work of the sculptor and that of the architect.
Christine Cynn, Norway, 2015, 87′
How does the arms trade impact real people? Christine Cynn’s Shooting Ourselves examines the weapons industry through the personal stories of victims, soldiers, manufacturers and activists from around the world, as they participate in an immersive production by the award-winning theatre company Rimini Protokoll, set in an architecture reconstructed from their everyday lives in the arms trade.
Souvenir de Iasi
Romulus Balazs, Frnace, 2016, 54′
By revisiting the locations of photographs taken 74 years ago during a pogrom in a Romanian city, Souvenirs de Iasi documents the often overlooked story of Romania’s participation in the Holocaust, and brings to light the nature and scale of deportation and extermination of the Jews during WWII, uncovered though architectural history and filmmaking.
Short, Max. 30min
Aurélien Vernhes-Lermusiaux, France, 2015, 25′
Les Photographes tells the story of The Hoffmanns—a couple of photographers who are called to Berlin to shoot a major series. Set in an area of desolated buildings, the photographers capture the architecture, while their work does not proceed as planned.
Max Colson, UK, 2017, 8′
Construction Lines is a short animated film exploring the spaces and lifestyles contained within an ‘iceberg’ home (where sub-ground levels are larger than the house above).
Building No. 13
Amir Gholami, Iran, 2016, 10′
Building no. 13 is the story of human life in the sewage systems, where inhabitants from the floors above compromise the social environment of those living beneath.
Short, Max. 30min
Making Waves,,, Unmastered
Fritz Laszlo Weber, Germany/Greece, 2016, 7′
Making Waves…Unmastered travels through some invisible and hidden infrastructures in Athens. By weaving together particular stories from the times of the Bavarian king Otto in the 19th century, through the military regime in the 60s and 70s to current forms of governance, ambiguities of local networks are explored.
Five Lives of the Bradbury Building
Jasper Stevens, UK, 2016, 3′
Reconstructing the iconic Bradbury Building through five of it’s myriad narrative existences (Blade Runner, The Artist, D.O.A., 500 Days of Summer, The Indestructible Man), Five Lives of the Bradbury Building inhabits the viewpoint of “The Private Eye”, able to travel outside of traditional spatial constraints to view the multiple co-existent and contradictory narrative spaces simultaneously.
Eleanor Suess, UK, 2017, 10′
Carriage exposes the uncanny experience of passing another train on parallel tracks at night, where the windows into the space of that other carriage are pools of light in a black void, offering portals into another world. Without any given narrative structure the half-formed images of that other carriage’s inhabitants provoke interpretation, before being lost, into the night, forever.
Clara Jo, Germany, 2016, 17′
24h Dahlem examines the motivations behind, and consequences of, the planned relocation (2019) of the ethnographic collections from the Dahlem State Museums—the Ethnological Museum and Museum for Asian Art—on the periphery of Berlin to the future site of the Humboldt Forum in Berlin Mitte. The film moves through the different layers of the museum, revealing that which is otherwise unseen.
Emma Charles, UK, 2016, 20′
White Mountain is a docu-fiction film which explores a former Cold War-era civil defence bunker in Stockholm redesigned in 2008 by architect Albert France-Lanord as a facility to house servers. Part Bond villain lair, part retro-futuristic spaceship, fish and lush greenery coexist alongside the flashing lights of the Pionen data center storage systems.
Ollie Palmer, France, 2016, 9′
A couple attempt to communicate from afar using an interface which translates their movements into words. As Scriptych develops, the couples’ communication becomes increasingly fragmented, posing questions about the location of meaning in messages and movements, and the impossibility of communicating true intent.
Choreography by Simon Valastro