Online streaming the Friday 16 October at 22:18 (UTC+2)
In 2000, Masha Godovannaya curated a programme entitled Avant-Garde Alternatives: An Evolution of American Experimental Film, which went on tour in Russia, making stops in Moscow, St. Petersburg and Yekaterinburg. We visited necro-realist film-maker Yevgeny Yufit at his house beside Lake Seliger, helping him repair the house we stayed in and, in exchange, being lavished with the fresh fish that landed in his nets every day. This film is a tribute to Yufit, who died in St. Petersburg in 2016.
Moira Tierney studied at University College Dublin (B.A.) and the École nationale supérieure d’arts de Paris-Cergy (DNSEP); she was granted a Fulbright Scholarship to work at Anthology Film Archives in New York. Her films MATILDA TONE and DOWN CLAIBORNE received Project Awards from the Irish Arts Council; NOUAKCHOTT ROCKS (the first Irish-Mauritanian co-production on record) received Irish Film Board Distribution Funding for its screening at the Rotterdam Film Festiva. Her work has screened extensively at institutions, galleries and festivals internationally, including the Fondation Cartier in Paris, the Rio Film Festival, the London and Edinburgh Film Festivals, the Reina Sofia Museum in Madrid and the Film Museum in Moscow. She was commissioned by theEuropean Peace III Initiative to make a film (ARE WE THERE YET? 2010) on the Irish border and has carried out film workshops in Ireland, France and Estonia. She is co-founder of the SOLUS film collective, a Dublin-based group whose mission is to distribute Irish work abroad and to bring new international work to Ireland. Her films are distributed by the Collectif Jeune Cinema in Paris and by Third World Newsreel and the Film-Maker’s Co-operative in New York. Recent presentations include a career retrospective at the Film-Makers Co-op, New York and a French tour as part of Culture Ireland’s programme for Ireland’s E.U. Presidency. She is a laureate of the Visual Art commissions of the Cité internationale des arts in Paris.
What is the starting point for your film?
Masha Godovannaya scheduled a tour of American avant-garde films in Russia (the first time these films were screened in the former USSR) and since I had a film in the program, she invited me to accompany her. After the screenings in Moscow, St. Petersburg and Ekaterinburg, we were invited to Seliger Lake. Yevgeny Yufit, a neuro-realist filmmaker, had a house by the lake. There was another house under construction; during our stay we helped with the work and enjoyed the fish Yufit caught in the lake. During the stay, I had my 16mm camera with me, so I filmed this fish story.
What technique did you use to create it? And what was your creative process? What did you film with?
Masha had found me a Russian 16mm camera: a Krasnogorsk K3 (a great camera, for those who are looking for one). I’m used to filming what’s going on around me and that was the case for this film. I didn’t shoot much; pretty much everything I shot is in the film, but I always had trouble finding the right rhythm in the editing. It was only during this recent period of confinement that I got back into it, to finally find the right rhythm. I shot on negative, I think it was a 500T negative.