According to one of the established techniques employed for avant-garde film, analogue stock, rather than simply being exposed in a camera, is worked on directly, touched and attacked. In tricolor the film strip is worked over in this fashion: first, tinted frame by frame with a special paint for use on glass, and second, the material is scratched, carved and artistically slit. Spots flit past and spread throughout the image like mold on a wall. Minimal impurities and signs of wear and tear appear huge when projected, and green and yellow streaks of color flash by at the breathless pace peculiar to cinema. Sound is dominant in this work: There is roaring, knocking, clattering and hissing, and even the whistling of the wind could have come from a horror movie’s soundtrack. And though black, yellow and green occupy the foreground at first, tricolor contains more colors than just these three.
| Directing | Martina Heyduk | Director |
