Kinderfilm — NEWS — MILAN MACHINIMA FESTIVAL

The Milan Machinima Festival is thrilled to introduce Kinderfilm as part of our Auteur Theory program. Join us for a special screening on March 15 2024 at IULM University in the Sala dei 146. Today, we’re happy to share an exclusive clip.

Operating at the intersection of art, politics, and video games, the Austrian artist collective Total Refusal stands out as a groundbreaking force. This self-described “pseudo-Marxist media guerrilla”, comprised of artists, researchers, and filmmakers, has carved a unique niche by appropriating contemporary video games to create political narrations. Their innovative approach to “upcycling” the resources of mainstream video games into videos, interventions, live performances, lectures, and workshops has not only challenged conventional boundaries but also captivated audiences worldwide. In 2023, they even made it into the front page of The New York Times (the best part, as often is the case with the Grey Lady, is the comment section… priceless).

Since its inception in 2018, Total Refusal’s compelling fusion of digital art and political commentary has garnered international acclaim, earning them over 50 awards and honorary mentions. It’s a stunning achievement in such a short span of time. Noteworthy among these are the prestigious European Film Award and the Best Short Direction Award at the Locarno Film Festival, underscoring their significant impact on contemporary film and art.

Total Refusal’s filmography is a testament to their creative versatility and political engagement. Their works, including Kinderfilm (2023), Hardly Working (2022, screened at the Milan Machinima Festival in 2023), Deconstructing the Bridge (2022), How to Disappear (2020, presented at the Milan Machinima Festival 2021), Featherfall (2019, featured on VRAL), and Operation Jane Walk (2018, screened at Sogni Eletrrici in 2019), explore various dimensions of video game worlds while critiquing societal and political norms. The provide a counter-narrative to mainstream discourse.

Total Refusal’s critical acclaim extends to major film festivals around the globe, showcasing their work to diverse audiences. Their recent participations include the Locarno International Film Festival (Switzerland), L’Étrange Festival (France), Black Canvas (Mexico), Montreal Festival du nouveau cinéma (Canada), and Viennale (Austria), among others. Each festival participation not only amplifies their voice but also reinforces the relevance of their work in contemporary discourse on art and politics.

Supported by the Austrian Cultural Forum Bern, their festival journey reflects a growing recognition of video game art as a legitimate and powerful medium for political and social commentary. From the streets of virtual Los Santos in Kinderfilm to the digital landscapes of Operation Jane Walk, Total Refusal redefines the boundaries between the fictional and the concretely lived, inviting viewers to reconsider their perceptions of video games, art, and the world around us.

The collective's most recent work, Kinderfilm, ventures into the spaces of Grand Theft Auto V,capturing a day permeated by mundane routines yet overshadowed by a “grave absence”, that is, a future put on hold due to safety concerns. Through the perspective of its protagonist, Edgar, the film traverses the eerily ordinary reality dictated by the game’s algorithms, unveiling a world that is outwardly enchanting but fundamentally nightmarish. This journey underscores Total Refusal’s knack for distilling deep insights from allegedly neutral digital environments. More poignantly, their critique extends beyond virtual borders, resonating starkly with real-world contexts. Particularly, it mirrors the societal dynamics of countries like Italy, where a declining birthrate, escalating emigration, and a crisis co-opted by the Far Right paint a similarly unsettling picture of suspended futures and challenged normalcies.

As Total Refusal continues to challenge and inspire, their work remains a benchmark for those seeking to navigate the complexities of contemporary digital and political landscapes. Their success at film festivals worldwide is not just a testament to their artistic innovation but also to the vital role of video games in shaping our cultural and political consciousness, not to mention reshaping visual culture as a whole.

Matteo Bittanti

The Milan Machinima Festival MMXXIV is thrilled to present the Auteur Theory program, showcasing three exceptional works by leading international artists and filmmakers. Join us for screenings on Friday, March 15, 2024, in the Sala dei 146 at IULM University.

Auteur theory

Friday March 15 2024 , 15:00 - 17:00

Sala dei 146

IULM 6, IULM University

Via Carlo Bo 7, 20143 Milano

curated by Matteo Bittanti

Artists and filmmakers: Jacky Connolly, Adrian Jonas Haim, Michael Stumpf, Robin Klengel (Total Refusal), Lawrence Lek.

The concept of auteur theory, originally developed within the context of film studies, posits that a film reflects the creative vision and personal style of its director, who is considered the primary “author” of the work. As machinima continues to evolve as an art form, this program explores how the elusive concept of authorship can be applied to works created within game engines, where the boundaries between gameplay, filmmaking, and digital art become increasingly blurred.

The three works featured in the Auteur Theory program exemplify the unique ways in which machinima artists and filmmakers assert their creative vision and personal style within the constraints of existing video game environments and game design tools. By repurposing game visuals, mechanics, and narratives, these artists create deeply personal works that challenge our understanding of authorship, creativity, and the nature of video games as a medium for artistic expression.

Kinderfilm, the latest creation by the Austrian collective Total Refusal (represented by Adrian Jonas Haim, Michael Stumpf, and Robin Klengel), unfolds within the digital spaces of Grand Theft Auto V’s San Andreas. The story follows a middle-aged man named Edgar, who drifts aimlessly through Los Santos, confined to his car. Total Refusal uses this familiar setting to explore themes of societal critique and hope, echoing the aesthetics and concerns of unclassifiable filmmakers like Charlie Kaufman and Kristoffer Borgli.

Lawrence Lek’s Theta immerses viewers in the journey of a self-driving police car grappling with an existential crisis within the desolate streets of SimBeijing, an abandoned smart city. As Theta confides in its integrated therapist, a self-help AI named Guanyin, the narrative unveils the grim realities that led to the city's abandonment. This stunning work is a continuation of Lek's Sinofuturist universe, delving into themes of identity, surveillance, and empathy within the technological age.

Jacky Connolly’s Descent into Hell transports viewers into a post-capitalist, dystopian vision of the United States. Crafted through an innovative amalgamation of scenes from Grand Theft Auto V and Connolly’s original animations, the piece diverges from the game’s central narrative to delve into the stark realities of everyday life for its characters. Connolly's work reflects her foray into the digital expanse of GTA V during the 2020 lockdown, prompting reflection on the stark realities of our age of collapse.

In the unique auditorium setting of the Milan Machinima Festival’s Sala dei 146, the Auteur Theory program transcends traditional cinematic experiences, redefining the essence of auteur theory in the age of art after video games. As viewers gather in this communal space, they are not merely spectators but participants in an immersive journey through video game landscapes transformed by the artists’s vision. This collective viewing experience amplifies the impact of each work, where the manipulation of game engines becomes a conduit for exploring the nuanced interactions between technology, society, and individuality.

The featured works delve into critical themes, examining the erosion of human connections, the pervasive influence of technology, and the stark realities shaped by late capitalism, while leveraging the familiar terrains of digital games to craft narratives that challenge and redefine societal norms. The characters within these narratives, marked by isolation and alienation, serve as mirrors reflecting the viewer’s own experiences in the contemporary world. Through a masterful blend of game aesthetics, original animations, and evocative sound design, these works construct immersive environments that invite introspection on the current state of society, the impact of technology on our lives, and the undiminished importance of genuine human connections.

By curating these three distinct and unique works under the umbrella of the Auteur Theory program, the Milan Machinima Festival underscores machinima’s capacity to serve as a powerful medium for creative storytelling, social critique, and the exploration of complex ideas. This program not only showcases the ability of artists to infuse their unique visions and styles into the constraints of commercial game worlds but also celebrates machinima’s evolution as an art form. It highlights the medium’s capability to foster a deeper understanding of the world around us, encouraging viewers to contemplate the intricate dance between reality and digital (re)creation, and pushing the boundaries of what machinima can achieve in conveying socially relevant concerns.

MMF MMXXIV: TOTAL REFUSAL IS WINNING THE CULTURE WAR

MMF MMXXIV: AUTEUR THEORY

Auteur theory