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Giuseppe Gagliano
Giuseppe Gagliano nam deel aan de poll “Greatest” Short Films of All Time 2025, een unieke publieksbevraging als collectieve liefdesbrief aan de kunst van de korte film. yanco en Kurzfilm Festival Hamburg, in samenwerking met Talking Shorts, nodigden filmmakers, curatoren, distributeurs, critici en academici wereldwijd uit om tien audiovisuele werken van minder dan zestig minuten te nomineren die zij persoonlijk beschouwen als de “beste” aller tijden. Dit was de inzending van Giuseppe Gagliano:
| Movie | Original Title | Director | Country | Year | Duration | |
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| Five Year Diary, Reel 23: A Breakdown (and) After the Mental Hospital (September 1–December 13, 1982) | Anne Charlotte Robertson | Verenigde Staten | 1990 | 28’ | ||
A part of her Super 8 diary. A very personal work to live and survive, and an extraordinary, idiosyncratic portrait of a woman in the 20th century. 'A picture a day keeps the doctor away' |
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| Bigger Than Texas | Mark Pugh | Australië | 1994 | 10’ | ||
An intensive thriller student film - a one hit wonder. I never saw or heard from him again. The plot unfolds a magnetizing fascination that leaves the viewer stunned and irritated. The little masterpiece only needs 10 minutes to achieve this effect! |
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| One Day Quel Giorno | Francesco Paterno | Italië | 1996 | 10’ | ||
'A man is crying on the corner of a street. His tears swiftly enfold the whole neighbourhood.' An extreme self-experience that overwhelms the viewer with feelings and pushes him emotionally to his limits. |
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| The Worst of Times Die schlimmste Zeit | Werner Senft | Duitsland | 1988 | 8’ | ||
The life confession of a Super 8 filmmaker ends up in a hopeless situation. But the movie goes on and shows us, with salutary self-irony, an ending that has washed itself out. I can never get away from this movie event without getting my feet wet, and am always deeply torn in both directions. |
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| Thine Inward - Looking Eyes | Thad Povey | Verenigde Staten | 1993 | 3’ | ||
'To paraphrase something Lao Tzu didn´t say: This film´s an empty cup - You fill it up.' Exactly, and this requires the utmost concentration. A direct reward is left to the viewer. |
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| Outer Space | Peter Tscherkassky | Oostenrijk | 1999 | 11’ | ||
A brilliant found footage piece, which rotates the found film scene through a glowing crystal curtain. The senses interweave with the rotating noises to create a moment of suspense in an extraordinary perception. |
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| #11, Marey <-> Moiré | Joost Rekveld | Nederland | 1999 | 20’ | ||
'An abstract composition of light and sound, in which the techniques and optics of cinema are not a means but an end. This impressive screen experience sends its impulses directly to the retina and into the ears. The reactions can be manifold, with what effects, everyone who dares to do so must find out for themselves. |
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| File | Kurt D'Haeseleer | België | 2000 | 28’ | ||
A video essay that captures your attention from the very first seconds. A kind of highly tuned image conveyor belt that grabs the perception like visualized data streams of an increasingly complex world. After the acceleration, we land in a resting zone where the image particles are in an unsteady state. Gradually, the familiar recedes from our consciousness. A unique film experience has just taken place! |
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| Don't Film the Slippers | Howard Aspden | Verenigd Koninkrijk | 1996 | 11’ | ||
A real No Budget selfmade Classic made on VHS: 'The film follows the filmmaker in a mischievous journey of self discovery whose endeavours are thwarted by the constant interruption of reality.' The slippers are in a miserable condition. |
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| Head, Tail, Rail | Hugi Olim | Portugal | 2013 | 7’ | ||
The last visit to some screening rooms of now closed cinemas. Some 35mm film remnants (start and end tapes) are swept up and collected. These found objects are mounted together and sent on their journey one last time. Like a very late train leaving the station, it picks up speed once again. |
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