The film was constructed from digital files of Yevgeni Yufit’s works, from which selected scenes were extracted and re-edited into a new narrative that would become ölmondnacht. This newly assembled footage was then intentionally corrupted through a datamoshing process using video editing software (Avidemux), introducing glitches and distortions as part of the visual language.
From this corrupted video, digital stills were generated and printed using an inkjet printer. The artist allowed the ink cartridges to run nearly empty before replacing them, resulting in dramatic shifts in color throughout the film. This process introduces an element of unpredictability—if the work were recreated today using the same stills, it would inevitably appear different, as the ink levels would begin at another point.
In addition, some of the printed images were physically manipulated—torn, collaged, or partially dissolved through the application of water—further disrupting the image and emphasizing material degradation as an extension of the film’s conceptual framework.
Director: Anna Malina
Anna Malina is an experimental artist working with self-portraiture and appropriated images, creating .gif animations, short films & music videos. She is heavily influenced by her exploration of cinema and moving image history, and obsessed with materiality, failures & absences.
