15 years, it’s quite something for a festival. At this age it’s all grown up, with solid foundations, concrete structure, experienced team and wide recognition. Unfortunately even today organizing LUFF is volunteer work and the festival is still taking only small steps to professionalize. “Now he’s getting whiny”, — some of you think already. Well, yes. Never satisfied, never happy — that’s our motto, our mojo, it’s the motor oil that keeps our engine going, it’s the lubricant that lets us glide on the waves of joyful decadence towards the wonderland of images and sounds. Like an Alice in puberty, LUFF explores, experiments, tries, revels, gets punched, slapped and hit in the crotch… And our guests will not apply any soothing balm; instead they screw up the film, explore unholy sounds and blow away our brain cells. Then what makes it possible for LUFF to exist with all these things we sell as unsellable? How is it that MUFF in Marseille saw the day despite venues closing down one after another and the generalized lobotomy? There is something like absolute necessity, like fire in the belly, an animal or infant need to disperse the standardized air of format. We saw it last May, in Hong Kong and Macao, where LUFF joined forces with the festival Kill the Silence. This is also the case of Dutch fest BUTFF, represented this year by Alex Diehl in the jury, and for which LUFF was an inspiration. These events were set into motion by the energy of anticonformism and of the desire to explore new terrains. The same energy, after all, that fuelled the work of pioneers Yasunao Tone, founder of Fluxus in Japan and improvised music genius, and Wakefield Poole, who revolutionized X-rated cinema, elevating it to a form of artistic expression. Two historical figures of this 2016 edition. Now it is essential for us not to ever lower our guard, keeping a high standard of quality and mixing generations and genres.
Julien Bodivit, Artistic Director –Film
Misunderstandings: —Do I make myself clear? asks the one in the focus of public attention. — Not sure to have understood what this musician or “noiseist” meant. — Is there something to understand? Lacan or Thévoz might say that everyone passes off responsibility of making sense onto someone else… and that the meaning always escapes… and that’s what’s productive. But productive of what? It’s like carrying water to the sea. Useless and so good. A few buckets during 4 days per year for 15 years. Noisy drops and “oh, well”, sometimes fertile. Bob Bellerue, who opens on Saturday, talks about experimental release. He’s quite right. Policies and aesthetics of discovery. Discovery of sounds (which are always more than sounds), discovery of original uses, but mostly discovery of the possible: goddammit, can we do that? It’s a joke, right?
This musical edition of LUFF is dedicated to the memory of Daniel Buess.
Thibault Walter, Artistic Director –Music