See works by Turkish-born, US-based filmmaker Nazlı Dinçel in this free screening presented with Queensland Film Festival.
Dinçel’s analogue, experimental films reflect on experiences of personal and cultural disruption—documenting fragments of arousal, immigration, and dislocation. Her works explore the physicality of both the body and of film, often hand-manipulating 16mm film using processes like scratching, sewing, and hammering.
“Reminiscent of Carolee Schneemann and Kathy Acker but articulated through a contemporary critical voice that is uniquely her own, Dinçel’s films are knowing, vital anthems about empowerment through art.”—MoMA, New York
Reserve your place for this free screening here.
Laser Engraver, Leather Puncher & Exacto Knife: The Marked Surfaces of Nazlı Dinçel | 66 minutes | Unrated 18+
Please note: This screening contains content of a graphic sexual nature.
Her Silent Seaming | Nazlı Dinçel | 2014, 10 minutes
Fragments of quotes from intimate experiences Dinçel had while separating from her husband; destroyed sections from a prior work Leafless; motifs of the ‘feminine’, alluding to Jack Smith’s Flaming Creatures; and the reconstruction of a pomegranate. These four vignettes are transformed through cutting and synchronisation.
Solitary Acts #4 #5 #6 | Nazlı Dinçel | 2015, 25 minutes
Materials: Wittnerchrome, Exacto Knife, Typewriter, Fishing Line, Sewing Machine, 1.5mm Letter Punches, Hammer, Leather Puncher.
Three films; three solitary acts of masturbation, consumption, and abortion. Each act combines social discourse with the filmmaker’s own body, weaving close-ups with waves of text, scratched into the film and spoken. Private acts become public.
Shape of a Surface | Nazlı Dinçel | 2017, 9 minutes
The ground holds accounts of once pagan, then Christian, and now Muslim ruins of the city built for Aphrodite. As she takes revenge on Narcissus, mirrors reveal what is seen, and surfaces, limbs dismantle, and marble turns flesh.
Between Relating and Use | Nazlı Dinçel | 2016, 9 minutes
Materials: Laser Engraver, Ektachrome
Borrowing words from Laura Mark’s Transnational Object and DW Winnicott’s Transitional Object, this film is an attempt to ethically make work in a foreign land. Transitioning from assuming the position of an ethnographer, we turn and explore inwards—to how we use our lovers.
Instructions on How to Make a Film | Nazlı Dinçel | 2018, 13 minutes
materials: 3378 hi-con, laser engraver, exacto knife
Shot at the Film Farm in Mt. Forest, this comedy is a quest about performance, analogue filmmaking, language and code, the ethics of ethnography, and narrative storytelling. Text by Barbara Kirshenblatt-Gimblett and Wikihow/shoot-film.
All films courtesy of Nazlı Dinçel.