Lisa Spilliaert Growth Record 1 & 2 + Hotel Red Shoes

We tonen drie kortfilms van de jonge Japans-Belgische kunstenares Lisa Spilliaert (JP/BE).

film screening, video
TH 18.02.2016 20:30 première

Naast de screening van Growth Record 1 gaat Growth Record 2 bij ons in première. In dit langtermijnproject waarvan al twee episodes te zien zijn, registreert Spilliaert de groei van een kind, waarvan zij bij wijze van spreken evengoed de moeder kon geweest zijn. Ze had namelijk seks met de Japanse man die 9 maanden later vader werd. Uit nieuwsgierigheid naar de baby beslist ze het kind regelmatig te fotograferen.

Een derde filmproject Hotel Red Shoes maakte Lisa Spilliaert samen met haar zus Clara. Een oud nostalgisch Japans lied 'The Girl with the Red Shoes' en het liefdeshotel 'Red Shoes' in Tokio vormen het decor van een wederzijds verlangen tussen België en Japan. Het filmwerk Hotel Red Shoes is de herinterpretatie van het lied door de twee zussen.

Nagesprek gemodereerd door Ann Overbergh.

+/- 60 min
NL/JP spoken
EN subtitles

Growth Record 1


8’45”
By: Lisa Spilliaert

Camera: Liam Singelyn

Montage: Elias Heuninck

Grading: Loup Brenta

Titles: Mario Debaene

Dutch monologue: Ilse Carbonez

JP-EN subtitles: Emi Kodama

NL-EN subtitles: Stijn Schiffeleers
Production: 2112

With the support of VAF Flanders Audiovisual Fund, Be-Part and The Province of West-Flandres

 Growth Record 2

9’25’’
By: Lisa Spilliaert

Camera: Liam Singelyn

Editing: Elias Heuninck
Mixing: Laszlo Umbreit

Grading: Loup Brenta

Titles: Mario Debaene

JP-EN subtitles: Emi Kodama

NL-EN subtitles: Stijn Schiffeleers

Production: 2112

With the support of VAF Flanders Audiovisual Fund, Be-Part and The Province of West-Flanders

Hotel Red Shoes


15’
By: Lisa & Clara Spilliaert

Sound recording dialogue: Johan Vandermaelen
Mixing: Elias Heuninck

Titles: Mario Debaene

With the support of: VAF

Lisa Spilliaert (°1990) was born in Tokyo. Her mother is Japanese and her father Belgian. She grew up in Japan and moved to Belgium when she was 17. Spilliaert uses the rangefinder of her camera to bridge distances, and to unite mental reference frameworks.

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