Length: 13:00 mins
Year of production: 2018
Exhibition Format: DCP or Quicktime file
Source Format: 16mm archival footage and HD Video
Language: No language
Selected Music by: Jeff Surak
Assistance: Alix Blevins
Consultance: Herbert Schwarze
Sound Mix: Philipp Bitter
Color Grading: Bertrand Glosset
Support/Mastering: Alfonso Merino
Gushing colors. A time disjointed, yet synchronous.
A transcendent turn, a quest for agency, a reunion with currents of the forest.
–––The hypnotic oscillation of images crescendos into a fusion of figure and field as different temporalities, forms, and forces evoke an affecting, and at times ominous interior space of subconscious experience and transformation. (Aily Nash and Faraz Anoushahpour, program notes, Images Festival)
–––A forest glade. A flickering. A cutting sound accompanies and dissects the simplicity of the image immediately, while the camera simultaneously moves backwards – we are distancing ourselves, entering into something new. The journey begins. A child on a path. It remains in the blackness, its hand, its face. The forest. Two universes encountering one another. With a steady touch and a great sensitivity for movement and rhythm, for form and the fluidity of colours, Sylvia Schedelbauer tells of a search and a discovery. In the reverse motion of objects, time and memory are laid bare and speak of the beauty of the search and the uncovered treasure. (Maike Mia Höhne, program notes, Berlinale Shorts Competition)
–––Sylvia Scheldelbauer’s Wishing Well was another lysergic experience of the intimate. The primal pulse of her images set the pace of an invisible rhythm, while we travel a path that might be a metaphor for a memory, for the ghostly road of our memories, somewhat linked to the appearance of a second patina of light, apparitions that mix themselves, images within images, a beating heart that tries to infuse life through its communicating vessels. Wishing Well is a fantastic experience of the erotic (the sensory), but it is also interlocked with the idea of commuting layers of significants in order to construct a different creature, a living, breathing being pulsing along the 24fps of cinema. An aesthetic eye is keen on the compulsive merging of images, a method that dwells with a different array of paintings. The filmmaker is, indeed, not only painting with light, but also, mixing a palette with two different compositions. The living painting of Schedelbauer’s manifestation of life is constantly renewing itself, reinventing itself from the intentions of memory, as a resource of the imagination or plain brain activity. It’s a nostalgic exercise with structural components, it’s both recalling, building and breathing. A remarkable work. (José Sarmiento Hinojosa, Desistfilm)