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The Nonconformist Alternative presents : SILVER CINEMA

The nonconformist alternative presents a film program: SILVER CINEMA

Curator of the program: Dimitar Kutmanov

"To sink into the nature of things, as if anticipating every twitching of the fabric of alien worlds that are alive before your eyes - a unique opportunity that only slow cinema can give its viewers."


The Nonconformist Alternative presents :


Greece, 2017

USA, 2017

Death of the sound man
Thailand, 2017

Canada, 2015

The Night of All Things
Herzegovina, Spain, 2016

Die Bergfrau
Germany, 2014

Sweden, 2014

I hear your scream
Paraguay, Argentina, 2008

Субтитри: английски
Цена на билета: 5 лв. 
Обща продължителност: 105 мин.


VANITÀ is the third installment in Kevin Pontuti's Poetry of Penance project, which uses magical realism to explore themes related to resilience and self-acceptance. VANITÀ was partly inspired by the historical tradition of Vanitas painting. The film explores topics related to obsessive compulsive behavior, notions of self-image, and destructive behaviors relating to vanity.

"The dark and dreamlike episode that confronts the viewer in Kevin Pontuti’s VANITÀ is rich in the suggestion of imagery recounting the long human struggle with balancing the lures of the world with the needs of the soul. His solemn woman before a mirror, whose red hair glints in the darkness around her, is redolent of portrayals of the penitent Mary Magdalene, a woman whose physical past is shed to find her spiritual core. Pontuti’s wordless image especially reminds of quiet scenes of contemplation, like Georges de la Tour’s painting of the Penitent Magdalene, where the sinner looks toward a mirror, a traditional symbol of vanity, and is reminded by the insubstantial flame of the transience of earthly life. In Pontuti’s film, the woman’s disturbing moments of disgorging a part of herself- a physical part of herself- is the equivalent in the painting of the quiet skull, hollow with gaping dark orbits, that implies mortality and the willing abandonment of the physical, sensual past. But while the Magdalene lets her earthly beauty go, the woman in Pontuti’s film resorbs that aspect of physical sensuality that links her to world. Her quest for redemption and transformation has not yet found resolution." Sarah Diebel, PhD 

VANITÀ f ilm still, 2017

VANITÀ film still, 2017

VANITÀ f ilm still, 2017

VANITÀ film still, 2017