Péter Lichter

Collage film built upon the audio of The War of the Worlds, directed and narrated by Orson Welles. Originally broadcast in October 1938 as a Halloween prank, the program famously triggered mass panic across the United States, as its format—presented as a series of live news bulletins—proved uncannily convincing. Absorbing the visual language of the contemporary media environment, W:A:R:O:F:T:H:E:W:O:R:L:D:S constructs a peculiar media-archaeological artifact. AI-generated videos, drone footage, feature films, video games, and online fragments converge with the original radio broadcast, creating a layered and unstable field of perception.

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An experimental reinterpretation of Dracula, this film fuses analog and digital decay-from Super 8 to 35mm-into a glitch-infused vision that transforms the novel's gothic eroticism into a haunting new audiovisual experience.

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In this experimental film, Peruvian Super 8 safari reels are reimagined as immersive VR imagery, exploring the lingering specters of colonialism and the eeriness of tourism.

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In 1921, an untitled text reminiscent of Edgar Allan Poe's writings was discovered in Boston. It was made by unknown creators, perhaps a techno-spiritualist cult of enthusiasts, for an automaton, that would attempt to model Poe's mind.

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The long dead ghosts of celluloid are coming back to haunt the digital space.

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In early 2020, MUTA - International Festival of Audiovisual Appropriation and Cine Íntimo rescued and digitised a Peruvian archive of orphaned 8mm and Super 8 home movies. With the aim of restoring these lost memories, we sent the images around the world. This omnibus film is the result of the intervention of this material, by 14 experimental filmmakers. Fourteen perspectives and ways of experiencing appropriation. Fourteen variations on the intimate.

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Dr. Moreau is an abstract horror short, adapted from H.G.Wells' classic novel, that will invite the viewer to board on a tangible journey to the borders of science, where the differences between nature and humanity are blurred.

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A collage crime movie from the first novel of Agatha Christie.

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The impression of the work of philosopher Rudolf Arnheim, woven into a desktop collage, is based on a visit to Disneyland, an iconic cultural product reflected in Arnheim’s texts, photographs, and audio compositions, with a central consideration of the ways in which film distances itself from reality or the impression of realism.

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The Philosophy of Horror – A Symphony of Film Theory is an abstract adaptation of Noël Carroll’s influential film theoretical book of the same title (published in 1990), which is a close examination of the horror genre. Our film uses hand painted and decayed 35 mm film strips of the classic slasher movie A Nightmare on Elm Street (Wes Craven, 1984) and its sequel A Nightmare on Elm Street 2: Freddy's Revenge (1985).

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Documentary footage, Hollywood cinema and video games collide, overlap and submerge into each other in a Dadaist collage inspired by the poetry of Hungarian poet Mário Z. Nemes. The hypermedia nature of the present is emphasised by fragments that are free of a clear narrative backbone.

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The Philosophy of Horror is a seven-part abstract adaptation of Noël Carroll’s influential film theoretical book of the same title (published in 1990), which is a close examination of the horror genre. The film uses hand painted and decayed 35mm film strips of the classic slasher movie A Nightmare on Elm Street (Wes Craven, 1984) and its sequel A Nightmare on Elm Street 2: Freddy's Revenge (1985).

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If this is heaven, bring on the afterlife! The spirits of legendary Hungarian filmmakers Michael Curtiz and Gábor Bódy meet in a metaphysical screening room, while on the screen footage plays of classic twentieth-century films.

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"Közért" (translation: "for the public") was a government owned chain of stores in Hungary, during the communist era (1948-1989). The word Közért is still used in the Hungarian language. Our film was made from the 35 mm celluloid raw footage of its advertisement: the film strips were digged in the soil, rotten with food and cut up in pieces.

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A retelling of Shakespeare's play from within the mind of the protagonist. The psychedelic appeal of the film was created with hand painted and rotten 35 mm and 16 mm celluloid strips.

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This film was made during the second hungarian abstract film workshop: the students created a free association adaptation of the poem of Charles Bukowski. The film was made with direct animation technique, on 35 mm and 16 mm filmstrips. Eötvös Loránd University (ELTE), Budapest.

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This film examines the relationship between the 1950's movie gimmicks and the contemporary blockbusters through the synesthesia of the classical abstract cinema.

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1990, after the fall. A man struggles to survive in the forest, living alone in a small cabin. One day he spots a mysterious child in an abandoned summer camp.

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The title of the film is the date on which the editorial staff of Hungary’s largest opposition newspaper, Népszabadság, was fired. The filmmaker tore up copies of that day’s issue, layered them, and then turned them into an urgent collage expressing his yearning for the free expression of opposition viewpoints. The visible edges of the film emphasize the impossibility of presenting information in a complete context.

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Marc Augé's essay "Non-Places: Introduction to an Anthropology of Supermodernity" meets with Stanley Kubrick's 2001: A Space Odyssey in some Hungarian highway rest areas.

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Pure Virtual Function is an abstract meditation on the representation of violence, the connection of virtual and real aggression. The film was made from painted 35 mm film strips and sound recording from Iraq war.

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510 On a sleepy morning Eduardo Kac, Professor of Biology, cross-fertilized his own DNA with that of the petunia. From the poetry book of Márton Simon.

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Arthur Rimbaud's adventures are still the greatest mysteries of the history of literature. This film, which was written by three Hungarian poet, attempts to reconstruct the journeys of the French poet. Rimbaud is an experimental road movie, edited from 30 reels of super 8 film, shot by unknown families in the past century.

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The early avant-garde filmmakers believed that the cinema had the function of a machine, made to generate pure feelings.

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This short experimental documentary, shot on super 8, contains a soundtrack that was recorded by the film’s authors during a primary school class trip 24 years earlier.

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A boy's sleep is disturbed.

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The film attempts to stimulate without dialogue and with not too exciting storyline, using only images, sounds, film-noir and usual horror elements.

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The film approaches Orwell's Nineteen Eighty-Four as a speculative archaeology: the visual markers of consumer society and political propaganda emerge through damaged advertisements and printed political materials.

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the second part of "The Philosophy of Horror" series

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Rhytmical combat of digital and chemical decay. (Brakhage and Sharits meet with Bruce Lee.)

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the third part of "The Philosophy of Horror" series

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Seventy-seven seconds from Sátántangó (1994), Béla Tarr's legendary seven-hour film, were buried for seven days. After purification, the celluloid was transformed into seven minutes: earth, water, and winter sunlight woven into the filmstrip.

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Documentary footage, Hollywood cinema and video games collide, overlap and submerge into each other in a Dadaist collage inspired by the poetry of Hungarian poet Mário Z. Nemes. The hypermedia nature of the present is emphasised by fragments that are free of a clear narrative backbone.

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If this is heaven, bring on the afterlife! The spirits of legendary Hungarian filmmakers Michael Curtiz and Gábor Bódy meet in a metaphysical screening room, while on the screen footage plays of classic twentieth-century films.

Open details →

A retelling of Shakespeare's play from within the mind of the protagonist. The psychedelic appeal of the film was created with hand painted and rotten 35 mm and 16 mm celluloid strips.

Open details →

1990, after the fall. A man struggles to survive in the forest, living alone in a small cabin. One day he spots a mysterious child in an abandoned summer camp.

Open details →

The title of the film is the date on which the editorial staff of Hungary’s largest opposition newspaper, Népszabadság, was fired. The filmmaker tore up copies of that day’s issue, layered them, and then turned them into an urgent collage expressing his yearning for the free expression of opposition viewpoints. The visible edges of the film emphasize the impossibility of presenting information in a complete context.

Open details →