The Austrian found footage auteur masterfully reworks sequences from Sidney J. Furie’s ’80s horror film The Entity to craft this tactile and immersive examination of cinematic space. Tscherkassky creates a maelstrom of audiovisual fragments and shards that delightfully destroy narrative norms.

A major figure in contemporary found-footage filmmaking, Tscherkassky is devoted to the sensory and tactile potential of celluloid, and committed to unveiling its artifice. Manually reworking films, frame by frame, he manipulates pre-existing images to capture the vivid fever dreams of surrealism.

Set to the relentless industrial rumble of train tracks and film leader, the latest film from the Austrian master of the avant-garde mounts a frenetic, flash-framed tribute to early cinema’s love affair with trains. All aboard a phantasmagoric journey into the flickering mechanics of moving images!

A playful interrogation of the materiality of celluloid, Peter Tscherkassky’s Manufraktur explores the tension between an image and the film on which it is captured. The avant-garde filmmaker’s architectural fascination stands out from the film’s temporal, sonic, and material manipulations.

Using painstakingly artisanal methods, the Austrian avant-gardist turns Sergio Leone’s The Good, the Bad and the Ugly into a black-and-white celluloid spectacular: his “attempt to transform a Roman Western into a Greek tragedy.” A vividly reactive and highly combustible CinemaScope short.