Résumés(1)
In 1949, Hans Richter determined distortion to be the basic element in the history of avant-garde film. The film Distortion returns to the theme and uses it as its own, creative tool. The material grounds of the lm is a DVD compilation of canonic experimental, ephemeral, and animated films. In the daily work with videos, interference of damaged data or overload of the computer are emphasized. In Lydie Nsiah's rhythmical visualization, complimented finally by a modular sound track called Billy Roisz (destilled from the original visual material), distortion returns back to the laboratory of the avant-garde. (Marienbad Film Festival)
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