Joseph Morder (Trinidad and Tobago, 1949) is a film-maker and diarist whose Super-8 films are a monument to experimentation and film as a way of life. This programme, comprising three, single-screening sessions, unveils three of his films on the city of Madrid and its people, neighbourhoods, history and lives: Niños, niñas (Malasaña) (Boys, Girls [Malasaña], 1978), L’Été madrilène (The Madrid Summer, 1978) and La Gran Vía de Rita Jones (The Gran Vía of Rita Jones, 1996). The film-maker will be in attendance at all three screenings.
Morder has always occupied an unorthodox space. With ties to avant-garde film cooperatives from 1970s France — Paris Films Coop, Collectif Jeune Cinéma — and film-makers such as Marguerite Duras, Alain Cavalier, Teo Hernández, Marcel Hanoun and Dominique Noguez, he has never belonged to any one group, participating instead to show his films and watch those made by other artists from a peripheral place.
From a young age he dreamed of making films of a similar ilk to much-admired film-makers like Douglas Sirk, Vincente Minnelli and Fritz Lang; namely, in the classical Hollywood tradition. At the tender age of eighteen, and newly arrived in Paris from Ecuador, Morder filmed his first Super-8 films: life stories and fragments made with friends and relatives. With a solid command of narration and editing from the outset, he was never concerned with avant-garde experimentation or the perfect technical mastery of his medium.
A tireless film archivist, traveller, writer and hardened cinephile with a love of Spanishness in all its forms, Morder has endeavoured to love film as someone loves life. In approaching his filmography, twelve hundred films strong, to date, we encounter a tenacious figure who is able to make a diary and film in each of his trips around the world.