is part of the big found-footage retrospective at the Austrian Filmmuseum:

Recycled Cinema Tue 15.6. | 19:00 & Fri 25.6. | 16.00

Shred, Scratch, Sync

blowfeld Rainer Gamsjäger. AT, 2004, DCP, color, 4 min
LOSSLESS #5 & #3 Rebecca Baron, Doug Goodwin. US, 2008, DCP, bw, 3 & 10 min
cityscapes Michaela Grill & Martin Siewert. AT, 2007, 35mm, bw, 16 min
Twelve Tales Told Johann Lurf. AT, 2014, DCP, color, 4 min
Freude Thomas Draschan. AT, 2009, 35mm, color and bw, 2 min
She Puppet Peggy Ahwesh. US, 2001, DCP, color, 15 min
A Movie by Jen Proctor Jennifer Proctor, US, 2010–12, DCP, color, 12 min
Technology Transformation: Wonder Woman Dara Birnbaum. US, 1978–79, DCP, color, 6 min
Kopierwerk Stefanie Weberhofer. AT, 2020, 35mm, color and bw, 7 min

The art of reclaiming and reworking found footage exploded into previously unimaginable dimensions with the invention of digital technology and its tools for image manipulation. „Shred, Scratch, Sync“ explores the consequences of this new vocabulary of special effects: channel combiner, curves, fill, exposure, linear wipe, noise, triton, set matte, venetian blinds, limiter effect, minimax, fractal noise, digital glitch, chromatic aberration, blur, de-noise, glow, sharpen, convert, plane to sphere, rotate, motion blur, bicubic sampling, transform, directional blur, drop shadow, fast box blur, gradient ramp, offset, find edges, mosaic, tint, invert, gaussian blur, 3D channel extract, depth matte, ID matte, EXtractoR, IDentifier, bilateral blur, reduce interlace flicker, compound blur, directional blur, smart blur, blend, compound arithmetic, remove color matting, shift channels, broadcast colors, change to color, color stabilizer, equalize, PS arbitrary map, vibrance, kernel, fit to comp width/height, scale, reduce noise, alpha, Bezier warp, bulge, corner pin, displacement map, liquefy, magnify, mesh warp, mirror, optics compensation, polar coordinates, reshape, ripple, smear, spherize, transform, turbulent displace, twirl, warp, bend, blobbylize, flo motion, griddler, ripple pulse, slant, smear, split, tiler, angle control, 4-color gradient, beam, cell pattern, checkboard, eyedropper, paint bucket, radio waves, ramp, scribble, stroke, vegas, write-on, glue-gun, light sweep, luma key, advanced spill suppressor, keylight, matte choker, roto brush, mocha shape, add grain, bevel alpha, color emboss, posterize, texturize, threshold, block load, burn, burn, burn… (Jurij Meden)

edge of doom

has received a Special Mention at the Mister Vorky Filmfestival in Ruma, Serbia:

Special mention is given to edge of doom by Michaela Grill and Sophie Trudeau. 
An effective montage analysis shows the faces of the women in the film – and when there’s drama, women exaggerate as if the world is on the edge of doom. In addition to insights into the ways of acting in silent cinema and to the fascination with human face, viewers still have to ask themselves: why did filmmakers tell women to exaggerate in dramatic scenes as if it were the end of the world? Feminism in a three-minute found-footage movie comes when you least expect it.

We are thrilled!


I’m so thrilled to finally be able to perform with Philip Jeck and Karl Lemieux again! Watch our show tomorrow Friday 4th at 7.30pm EST/ 1.30 am MEZ at Suoni Per Il Popolo – Jour 2 / Day 2.
It’s free and will be streaming on Facebook, Youtube and their website:…/2021-06-04-jeck-grill…
It will be available in their archives afterwards.
Thanks to the entire Suoni team for the invitation and all the hard work!
The focus of our collaboration is the exploration of analogue-digital image worlds. More details about us can be found here:
I believe you can see/hear that we were burning to play life again.

And if you’ve missed it you can watch it here:


will be screened as part of this awesome program at fimav – festival international musique actuelle victoriaville


11 AM – $12

This program brings together experimental films from three countries: the Netherlands, Austria and the United States. Pushed to the limit of abstraction, these works travel between the organic materials of 16mm film to the glitched pixels of digital image. The program begins with #5 by JOOST REKVELD, a 16mm triple projection, followed by Deletion by ESTHER URLUS, two well-known European analog filmmakers. After the politicized video of TELCOSYSTEMS, a multimedia duo, we will enter the world of two great Austrian video artists, TINA FRANK and MICHAELA GRILL, both of whom presented performances at the Festival in 2004 and 2017 respectively. The program will end with Another Void, a visual and musical poem shot on Super 8mm (transferred on 16mm) by the late American filmmaker PAUL CLIPSON.