<html><head><meta http-equiv="Content-Type" content="text/html; charset=utf-8"></head><body style="word-wrap: break-word; -webkit-nbsp-mode: space; line-break: after-white-space;" class=""><meta http-equiv="Content-Type" content="text/html; charset=utf-8" class=""><div style="word-wrap: break-word; -webkit-nbsp-mode: space; line-break: after-white-space;" class=""><div class=""><span class="" style="-webkit-font-kerning: none; font-size: 14px;"><font color="#434f8b" class="">We are thrilled to announce that <b class="">Train Again </b>by<b class=""> Peter Tscherkassky </b>will celebrate its <i class="">World Premiere</i> at the <b class="">Cannes Film Festival, </b></font></span><b class="" style="caret-color: rgb(67, 79, 139); color: rgb(67, 79, 139); font-size: 14px;">53rd Directors' Fortnight / Quinzaine des Réalisateurs !</b></div><div style="margin: 0px; font-stretch: normal; line-height: normal;" class=""><span style="color: rgb(67, 79, 139); font-size: 14px;" class="">Welcome back – It's already Peter's 4th time to present a film at the prestigious festival. Congratulations!</span></div><div style="margin: 0px; font-stretch: normal; line-height: normal; min-height: 14px;" class=""><font color="#434f8b" style="font-size: 14px;" class=""><span style="font-kerning: none" class=""></span><br class=""></font></div><div style="margin: 0px; font-stretch: normal; line-height: normal; min-height: 14px;" class=""><font color="#434f8b" style="font-size: 14px;" class=""><br class=""></font></div><div style="margin: 0px; font-stretch: normal; line-height: normal;" class=""><span style="-webkit-font-kerning: none; font-style: normal;" class=""><font color="#434f8b" size="4" class="">Peter Tscherkassky</font></span></div><div style="margin: 0px; font-stretch: normal; line-height: normal;" class=""><span style="-webkit-font-kerning: none; font-style: normal;" class=""><font color="#434f8b" face="Helvetica-Light" size="7" class="">Train Again </font></span></div><div style="margin: 0px; font-stretch: normal; line-height: normal;" class=""><br class=""></div><div style="margin: 0px; font-stretch: normal; line-height: normal;" class=""><span style="-webkit-font-kerning: none; font-size: 14px;" class=""><font color="#434f8b" class="">AT 2021, 35mm & DCP, b&w, 20 min</font></span></div><div style="margin: 0px; font-stretch: normal; line-height: normal;" class=""><span style="-webkit-font-kerning: none; font-size: 14px;" class=""><font color="#434f8b" class="">Soundtrack: Dirk Schaefer</font></span></div><div class=""><span style="-webkit-font-kerning: none; font-size: 14px;" class=""><div style="font-size: 12px; margin: 0px; font-stretch: normal; line-height: normal;" class=""><a href="https://www.sixpackfilm.com/en/catalogue/2688/" class="">—>></a></div><div class=""><span style="-webkit-font-kerning: none;" class=""><font color="#434f8b" class=""><span style="font-size: 14px;" class=""><br class=""></span></font></span></div></span></div><div class=""><span style="-webkit-font-kerning: none; font-size: 14px;" class=""><font color="#434f8b" class=""><br class=""></font></span></div><div class=""><font color="#434f8b" style="font-size: 14px;" class=""><img apple-inline="yes" id="599A3658-775F-4C6F-AD43-AC0A3A5292CA" class="" src="cid:7D97D327-A5A2-4328-88EC-3825A59538C4"><img apple-inline="yes" id="696F48F0-A0A7-418E-96F9-FA16EBC4E529" class="" src="cid:047E30C5-35CA-4697-8A00-8D08B21CC0B9"></font></div><div class=""><font color="#434f8b" style="font-size: 14px;" class=""><br class=""></font></div><div class=""><span style="-webkit-font-kerning: none; font-size: 14px;" class=""><font color="#434f8b" class=""><br class=""></font></span></div><div class=""><span style="-webkit-font-kerning: none;" class=""><font color="#434f8b" style="font-size: 14px;" class=""><div style="margin: 0px; font-stretch: normal; line-height: normal;" class=""><span style="font-kerning: none" class="">18 years after Kurt Kren produced his third film <i class="">3/60 Bäume im Herbst [3/60 Trees in Autumn]</i>, he shot his masterpiece <i class="">37/78 Tree Again</i>.</span></div><div style="margin: 0px; font-stretch: normal; line-height: normal;" class=""><span style="font-kerning: none" class="">18 years after I created my third darkroom film<i class=""> L’Arrivèe</i> (an homage to the Lumière brothers and their 1895 <i class="">L'Arrivée d'un train</i>), I embarked on <i class="">Train Again</i>. </span></div><div style="margin: 0px; font-stretch: normal; line-height: normal;" class=""><span style="font-kerning: none" class="">This third film in my “Rushes Series” is an homage to Kurt Kren that simultaneously taps into a classic motif in film history.</span></div><div style="margin: 0px; font-stretch: normal; line-height: normal;" class=""><span style="font-kerning: none" class="">My darkroom ride took a few years, but we finally arrived: All aboard! <i class="">(Peter Tscherkassky)</i></span></div><div style="margin: 0px; font-stretch: normal; line-height: normal; min-height: 14px;" class=""><span style="font-kerning: none" class=""></span><br class=""></div><div style="margin: 0px; font-stretch: normal; line-height: normal; min-height: 14px;" class=""><span style="font-kerning: none" class=""></span><br class=""></div></font></span></div><blockquote style="margin: 0 0 0 40px; border: none; padding: 0px;" class=""><div class=""><span style="-webkit-font-kerning: none;" class=""><font color="#434f8b" style="font-size: 14px;" class=""><div style="margin: 0px; font-stretch: normal; line-height: normal;" class=""><span style="font-kerning: none" class=""><b class="">More informations:</b></span></div></font></span></div><div class=""><span style="-webkit-font-kerning: none;" class=""><font color="#434f8b" style="font-size: 14px;" class=""><div style="margin: 0px; font-stretch: normal; line-height: normal;" class=""><a href="https://www.sixpackfilm.com/en/catalogue/2688/" class="">—> sixpackfilm</a></div></font></span></div><div class=""><span style="-webkit-font-kerning: none;" class=""><font color="#434f8b" class=""><div style="font-size: 14px; margin: 0px; font-stretch: normal; line-height: normal;" class=""><span style="text-decoration: underline ; font-kerning: none" class=""><a href="http://tscherkassky.at/" class="">—> website Peter Tscherkassky</a> </span></div><div style="font-size: 14px; margin: 0px; font-stretch: normal; line-height: normal;" class=""><a href="https://www.quinzaine-realisateurs.com/en/" class="">—> Quinzaine des Réalisateurs / Directors’ Fortnight</a></div><div style="font-size: 14px; margin: 0px; font-stretch: normal; line-height: normal;" class=""><br class=""></div></font></span></div></blockquote><div class=""><span style="-webkit-font-kerning: none;" class=""><font color="#434f8b" class=""><div style="font-size: 14px; margin: 0px; font-stretch: normal; line-height: normal; min-height: 14px;" class=""><span style="font-kerning: none" class=""> </span><br class="webkit-block-placeholder"></div><div style="font-size: 14px;" class=""><span style="font-kerning: none" class=""><br class=""></span></div><div style="font-size: 14px;" class=""><span style="font-kerning: none" class="">The acceleration of the world and perception radically intensifies over
the course of the 19th century. While the mobilization of the gaze
generates unforeseen freedom, it also fuels anxiety. From the very
start, cinema and the train are inextricably linked as factories of
newfound upheaval and uprootedness. The audience exposes itself to the
electric shadows at its own risk, guided by the Brothers Lumière who in
1895 also celebrate the arrival of animated photography on the train
platform at La Ciotat – or by the young René Clair when he sends a
hearse on wildly careening rails in <em class="">Entr’Acte</em> (1924). Likewise,
Peter Tscherkassky's roller coaster ride through a methodically
constellated frame-by-frame landscape of escalating cinema commences
with frenetic action and the passing of a baton: Horse-drawn coaches and
steeds compete one last time against the iron horse, the riders
intercut with the train at dizzying, super-imposing velocity. <em class="">Train Again</em>
is a phantom ride through the engine room of the seventh art, a
ceremony of the (violent) mechanics of railway vehicles and image
transporters. <br class=""><br class="">Tscherkassky flits through the history of the
filmic avant-garde, conceiving his work as a centrifuge of quotations
from the pantheon of visionary cinema. He conjures heaven and hell,
embarking on a collision course fearlessly bound for the apocalyptic.
One could call this highly complex and simultaneously elemental film a
darkroom action experiment, an underground blockbuster, or a kinetic
painting in a thousand shades of grey. It is woven out of twitching film
frames, flashing light, and spectacularly collapsing motifs – a
concrete abstract cinema of meta-attractions and frenzy. <em class="">Train Again</em>
is an ecstatic ode to the fragility and explosive force of the medium.
Cinema in our day and age is under attack, but in this phase of its
decline its fierce fighting power is – quod erat demonstrandum – utterly
intact. </span></div><div style="font-size: 14px;" class=""><span style="font-kerning: none" class=""><em class="">Stefan Grissemann (</em><em class="">translation: Eve Heller)</em></span></div><div style="font-size: 14px;" class=""><span style="font-kerning: none" class=""><em class=""><br class=""></em></span></div><div class=""><span style="font-size: 14px;" class=""><i class="">—</i></span></div><div style="font-size: 14px;" class=""><span style="font-kerning: none" class=""><em class=""><br class=""></em></span></div><div style="font-size: 14px;" class=""><span style="-webkit-font-kerning: none; font-style: normal;" class="">sixpack<b class="">film</b></span></div></font></span></div></div></body></html>