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Devoted Super 8 Filmmaker
Matt Hulse
Devoted Super 8 Filmmaker
There's something very Tri-X about Poland, and I was glad that I had some on me when I was in Wroclaw in 2002.

In Polskie Buty (2002) the camera's hand-held, unflinching naive gaze upon different kinds of shoes is intentionally banal, the aim being to allow the viewer to appreciate the movement that is occuring on the surface of the film itself, the weave of the film through the gate, the intermittent hair, scratch and splice. Hopefully the aesthetic and emotional qualities that Tri-X brings to the subject enables the viewer to experience something pretty close to that which I sensed as I looked at those shoes for real in those dingy Polish shoe shops.

Polskie Buty concluded a retrospective of my films at the Dresden Filmfest in 2002, acting as a kind of 'resolution' of a decade of Super 8 film making and indicating where I might take it next. At the end of the screening, a man approached and said: "Excuse me, but why do your films look so bad?" I laughed and soon accepted his negative criticism as a sign of my success in this gleefully hands-on business that is Super 8mm. By films looking 'bad', he's talking about scratches, splices, dirt and hairs. Are those elements not signs of life itself?

Still From Polskie Buty by Matt Hulse, 2002
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