Atoosa Pour Hosseini

Only Human

Rouzbeh Rashidi

Atoosa Pour Hosseini, Farzad Fahim

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.

Kinetics

Atoosa Pour Hosseini

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.

I Like You More Than I Like Painting

Rouzbeh Rashidi

Atoosa Pour Hosseini, Rouzbeh Rashidi

I Like You More Than I Like Painting

Luminous Void: Docudrama

Rouzbeh Rashidi

Michael Higgins, Maximilian Le Cain

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.

Gleanings

Atoosa Pour Hosseini

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?

Circumcision of Participant Observation

Rouzbeh Rashidi

Dean Kavanagh, Atoosa Pour Hosseini

One of Rashidi’s freest and most mysterious films to date, CIRCUMCISION OF PARTICIPANT OBSERVATION weaves a series of humorous, frightening and ultimately hypnotic vignettes into a visionary tapestry of cinematic dreaming.

Zoetrope

Rouzbeh Rashidi

Nasser Rashidi, Atoosa Pour Hosseini

Zoetrope deals with the quality of being expressive, explores the locations & reveals a life in a small house and its surrounding. The film slowly evolves and shows the history of nothingness of the characters who are in Zoetrope.

Refining the Senses

Atoosa Pour Hosseini

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.

Oasis

Atoosa Pour Hosseini

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.

Clandestine

Atoosa Pour Hosseini

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.

Mirage

Atoosa Pour Hosseini

"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

Antler

Atoosa Pour Hosseini

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.

Hypothesis

Rouzbeh Rashidi

Jann Clavadetscher, Atoosa Pour Hosseini

Part one of Rouzbeh Rashidi’s ‘Rearrangment Trilogy’. These three wonderfully warm features that celebrate friendship and creativity, and display a gentleness and lightness of touch.