![]() ![]() The first, History's Future, is what you would imagine when you say “feature”, with a script and actors. In what ways, if any, would you say it relates to the first two? It is quite unusual to make something for both these different venues, and that, I guess, is why so few people even want to do it.ĭearest Fiona has been presented as your third feature. ![]() But the audience just crawled into the film and were just… in it. Also, to me, the screen was a bit far away – it’s a big cinema. In cinemas, there’s an industry standard with sound systems that may not be optimal, which can be frustrating. Yesterday, I kind of missed a certain intimacy and also a certain control that I normally have at an exhibition, with space, seating and sound. But the context is, of course, different, and there’s something to be said for both. I know it has also worked in its other manifestation as an installation, which has been done once so far. Introducing her film at Berlin, the renowned artist-director shared some thoughts on her process.Ĭineuropa: What are your thoughts on Dearest Fiona as a theatrical feature, compared to its incarnation as an art installation?įiona Tan: It’s something that I’m investigating, and I think it worked very well in the cinema yesterday. Simultaneously, this is a work created for art-gallery installations, a somewhat delicate process. Premiering in the Forum section of the 73 rd Berlin International Film Festival, Dearest Fiona is presented as visual artist Fiona Tan’s third cinematic feature. ![]()
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