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Brompton Cemetery November 2003, a place for breif encounters. Allan Warren takes us on a tour though crowded cruising lanes and popular bushes.

Brothers Petroleum hiding in the horizon, Conan blessing the sword. It is the hour.

4 Mostra de Vídeo Independent de Barcelona 1997 & Fenòmens interactius

https://www.liberation.fr/medias/1998/06/26/claire-doutriaux-et-paul-ouazan-producteurs-de-brut-depuis-trois-ans-ces-images-degageaient-l-ideolo_239764

https://www.liberation.fr/medias/1998/06/26/claire-doutriaux-et-paul-ouazan-producteurs-de-brut-depuis-trois-ans-ces-images-degageaient-l-ideolo_239764

Ten years after the civil war in Guatemala, war-like conditions still prevail and the state is regardes as being widely undercut by organised criminality. Guatemala has one of the highest-murder rates on the American continent and violence claims more than ten lives a day. The film documents urban criminality and the people who stuggle against it. BUENOS DIAS, SEGUIMOS EN GUERRA bears witness to the Sobrevivientes Foundation and mother of murdered 8 year-old Michelle's fight for justice or follows the photographic journalist Carlos in his lugubrious everyday working life.

Kobland's quiet, meditative video is a philosophical investigation, a travelogue of sorts, and, ultimately, a probing essay-film in the tradition of Aleksandr Sokorov or late Godard. Buildings and Grounds pairs lingering, beautifully framed shots of urban scenes, industrial installations, deserts, and other evocative landscapes with a series of fragmentary ruminations drawn from film luminaries such as Fassbinder, Fellini, Bergman and Tarkovsky. Presented as a unified diaristic accompaniment to the image, the text comes to us both as English-language 'subtitles' and, simultaneously, as voice-off appropriated from the original films. Floating over an image track virtually evacuated of all human form or movement, Kobland's questions and digressions call up a beautiful and melancholy world.