Offset @ LSFF 2019 – 13 January 1pm

I would like to invite you to the screening of my newest film OFFSET in the chuck full program ‘Leftfield & Luscious’ during London Short Film Festival 2019! 🙂

Sunday 13th of January, 1pm
@ ICA London , The Mall,
St James’s, SW1Y 5AH

For tickets CLICK HERE

OFFSET
There is no guidebook on how to survive the agonising hurricane of pain when you find your most intimate self betrayed. Trapped between walls of pain, you try to fight your way out.
How much of the pain do you need in order to survive, what time do you get to test the truth of your expectations and how much do you let yourself be told of what is right? In fight for breath, love balances us sharply on hopes blade.

Anne Verheij – Concept | director | cinematographer
Cassie Kinoshi – Composer
Kathrin Gramelsberger – Dancer

ONES [two] @ Deptford X Fringe Festival 24 Sept – 1 Oct

We would like to invite you to

ONES [two]
[2 women, 2 countries, 2 disciplines]
a film by Anne Verheij & Miku Tsuchiya

ONES [two] is a double screened video installation that depicts the inner voice of a haunted woman by crawling under her moving skin.
The interior and exterior are brought together by the three elements of water, wind and earth.
As the lines between movement and manipulation blur, her calm facade cracks, revealing something dark and mysterious, as it makes its way to the surface.

This project crosses the borders from UK to China.

24 th September – 1 st of October 2016
12.00 pm – 18.00 Monday to Saturday every 15 minutes
@ Deli X, 156 Deptford HS, SE8 3PQ, London
Part of Deptford X Fringe Festival 2016

concept | film | montage
Anne Verheij
performance | montage
Miku Tsuchiya
Sound
Jack Goodwin

ONES_Part2©ANNE•2016

ONES [two] @ Deptford X FRINGE

Come one come all to Deptford X Fringe Festival 2106 where we show

ONES [two]
2 women, 2 countries, 2 disciplines
Crossing borders from the UK to China.
a film by Anne Verheij and Miku Tsuchiya

24 th September – 1 st October 2016
12.00 – 18.00 pm Monday to Saturday
@ Deli X, 156 Deptford High Street, London

Follow us
Miku Tsuchiya and Anne Verheij

ONES[two]DeptfordX©ANNE•2016

ONES @ Deptford X festival

This October the first part of ONES will be shown @Deptford X festival!

Come and join us across borders from Japan to United Kingdom
from 1-4 October 2015
between 6-9 pm @ Deli X, London

ONES
2 women
2 countries
2 disciplines
—————-
1 installation

ONES is a collaboration between Dutch visual artist Anne Verheij and Japanese choreographer Miku Tsuchiya, in which film and dance are explored across various urban sites in London.
ONES engages the spectator through juxtaposing two films created out of the same footage, capturing the individual’s rhythm amidst the pulse of the restless city.

Concept | film | montage: Anne Verheij
Performance | montage: Miku Tsuchiya
Sound design: Jack Goodwin

ONESdeptfordX©ANNE•2015

Photo by © ANNE• 2015

TEOKORUS round two

Great news!

My short TEOKORUS has made it in to round two of this years Aesthetica Short Film Festival!

TEOKORUS is a visual sound poem in which light and rhythm dance a duet on the rim of reality.

More updates on my projects and if TEOKORUS will make it to the final of ASFF will follow soon!

TEOKORUS©ANNE•2014

 

ONES – week 3 – sounds

2 women
2 voices
2 countries
2 disciplines
2 intuitions
2 rhythms
————–
1 installation

Miku_falling©ANNE•_2014

 

 

[02-03-2015 UK] Anne Point:

Thoughts on location 3:
Japan sounds – defined place or material sounds
UK sounds – material vs. material and their momentum

This week Miku and I seem to have almost an overload of sounds. To me my sounds almost feel too much and too little at the same time. I wonder if this has to do with the awareness we have created over the last three week on how we each interpret sounds and their possibilities in usage.

For me the excitement this week lay in the recording, but I got impatient when listening back to it. A feeling of ‘everything could work, hence nothing works or is good enough’ crossed my thoughts. Agitation over too much choice took my main focus in the conversation, leaving me with a doubtful state of mind.

The fact that we are coming to our 3d location and with that our most important location, because we went back there a second time, has gotten the overhand on the ideas and flow of it. The sounds are still really particular and unique, but because this location became such a big deal to me by filming it for a second time, there seemed to be little space left in my mind to transform it into something else.

Hence my thoughts for editing have shifted into starting with this 3d location first, rather then keeping it for last, because else the pressure to make it into something ‘good’ becomes leading instead of ‘exploring’ its possibilities and boundaries.

——-

[02-03-2015 Japan] Miku:

Miku’s Sound – natural recordings / created sounds / softer / malleable
Anne’s Sound – created abstract sounds / metallic / hard / dense / sharp / edgy

– Both Anne and I had very different sounds this time.
My sounds were more literal / easy to guess and more ambient than Anne’s abstract sounds. Anne’s sound were very interesting and fascinating that I couldn’t guess what it was, and it attracted my attention more. Anne’s sounds weren’t an ambient sound to me. It had characters and its own voice / statement, which I though would be an interesting layer to add on to the visual.

– When I was searching for sounds to record, I reviewed the perceptions I had that time during the filming at the location 3. The feeling of a long continuous pathway, and the feeling of looking down the hole, reminds me of a manhole on the street, where I decided to record the sound of the water, for example. The object’s presence is visually absent in the frame, however, it was present in my body. I think this searching for a sound that was present in my body (but not visually), and combining it with the visual, could expand the kinaesthetic experience for the audience.

– PRESENSE of ABSENSE / playing with visually non-related elements in sound (earth elements) could be interesting. Water vs. concrete site sounds. This can create a new effect / new imagination?

– Listening to both of our sounds, like specific site’s and its elements, affected our choice of the sounds.

I am thinking of how I could put these sounds with the film…
For instance it would be interesting to play with busy on-going sounds while the movement is slow – this could create a friction between visual and audible which could be challenging and interesting. It could expand audience’s experience.

After collecting loads of sounds together for three locations, we now need to re-select and re-consider in finalizing which sounds we’ll pic. It is very tricky I found that some of the sounds could fit more than one location.
SO, in that case, what more can I consider making my decision? Maybe I could rethink my kinaesthetic experiences (5 senses experience) at each location and see if that helps. Especially, focusing on my BODY experience / memory, could be helpful.

QUESTIONS FOR MYSELF:
How does my body feel when I listen to the sounds?
Does the sound fit my kinaesthetic experience / memory or does it conflicts?

 

ONES – week 1 – sound

‘ONES’

2 women
2 countries
2 voices
2 disciplines
2 intuitions
2 rhythms
————–
1 installation

Miku_falling©ANNE•_2014

 

 



[09-02-15 UK] Anne Point:
Thoughts on Location 1
UK – 3 sounds recorded: ‘Echoing city’
Japan – 4 sounds recorded: ‘Clear rhythms’

We both think that the sounds of the other person are clearer. This ‘clearness’ may stem from the fact that we were not there in person recording it, so we don’t have the other inputs from the space like colour, size or usage (original/traditional use of public space).
Human voices have a tendency to create stereotypical ‘drama’, where machines produce more of a rhythm. In my opinion it would be interesting to separate the body on film from too recognizable sounds, so it gets the possibility to create its own sound and rhythm.
Distortion of sounds by isolating parts of it and slowing these parts down, speeding them up, muffle them or increase their higher or lower tones.

[09-02-15 Japan] Miku:
– Sound creates different environments, feelings, emotions and imagination for each individual person. Depending on your background, one simple sound can transform into a million things.
– The human voice has such a strong presence. It connects with us right away. As soon as we recognize it, it’s challenging for us to imagine more than just a voice.
– When the pitch of the sound is really high, to me it becomes un-grounded, this way my body on the film can’t really connect to the sound itself. It doesn’t evoke my imagination much. This feels out of the body.
– Two intuitions create such an interesting mix of two different worlds.