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At first, Elias expected the usual—grainy, black-and-white avant-garde films from the sixties that pushed the boundaries of the era. But as the 35mm film hissed through the projector, the images that flickered onto the white sheet pinned to the wall were different. They weren't old. The resolution was impossibly sharp, the colors saturated in a way that felt almost hyper-real. kino erotika 2012 exclusive
The second, “Sunday in Bed” (1981) , is more abstract: two hands, a rain-streaked window, and a 12-minute single take of peeling an orange. It makes sense only in context of Eastern European surrealism. But as the 35mm film hissed through the
