[Frameworks] Part 2 of 2: This week [October 16 - 24, 2010] in avant garde cinema

[Weekly Listing]

Part 2 of 2: This week [October 16 - 24, 2010] in avant garde cinema

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FRIDAY, OCTOBER 22, 2010
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10/22
Kansas City, Missouri: Nelson-Atkins Museum of Art
http://www.nelson-atkins.org
7:00 p.m., 4525 Oak Street

 ELECTROMEDIASCOPE
  "Wave Energies FeedBack: 30 Years of Electronic Media at Kansas City Art
  Institute." Part of the celebration of the 125th anniversary of the
  Kansas City Art Institute. "Tiger Flower Circle Sun," Christopher
  Willits, (USA), Live Performance with guitar, computer and video
  projection, 30 min.; "Shelf Life," Don Bernier (USA), 2008, video, 29:30
  min.; "Los Angeles," Derric Eady (USA), 2009, video, 9:44 min.; "Center
  of the Universe," Timothy Hutchings (USA), 2003, video, 3:47 min.;
  "Celestial Spheres," Timothy Hutchings (USA), 2008, video with original
  score by David T. Little, 6:16 min.; "Toyboat," Heather Brown (USA),
  2010, video, 5 min.; "Chorégraphie Impromptue," Audra Brandt (USA),
  2007, video, 3:56 min.; "Spiders," Audra Brandt (USA), 2007, video, 2:02
  min.; "I Want to Love You," Cortney Andrews (USA), 2010, video, 10 min.
  Additional programs on Oct. 8 and Oct. 15. 

10/22
London, England: BFI London Film Festival
http://www.bfi.org.uk/lff
4:15pm, BFI Southbank, Belvedere Road, South Bank, SE1 8XT

 SUBLIME PASSAGES
  SHUTTER (Alexi Manis / Canada 2010 / 8 min) SHUTTER suggests the uncanny
  atmosphere and changing light on the day of a total eclipse. DRIFTER
  (Timoleon Wilkins / USA 1996-2010 / 24 min) Fragments of the filmmaker's
  life, home and travels, recorded over a 14-year period. "The glories of
  atmospheric light and colour, inward soul-drifting, and the literal
  sensation of drifting within and through each shot and cut." SHRIMP BOAT
  LOG (David Gatten / USA 2010 / 6 min) "300 shots, 29 frames each,
  alternating between a notebook listing the names of shrimp boats that
  frequent the mouth of the Edisto River and images of these same boats."
  BLUE MANTLE (Rebecca Meyers / USA 2010 / 35 min) Blending 19th century
  American literature with factual accounts, illustrations and music by
  Debussy and Wagner, this oblique portrait of a shipwrecked coastline
  conveys the vastness and majesty of the ocean. A song to the sea, and a
  commemoration of those who have risked their lives off the treacherous
  Massachusetts shore. TRAVELLING FIELDS (Inger Lise Hansen / Norway 2009
  / 9 min) In the third film of her 'inverted perspective' trilogy, Hansen
  turns her camera on the North West Russia, creating monumental and
  uncanny vistas from these barren wastelands.

10/22
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30 pm, 32 2nd Avenue

 SOMETIMES CITY
  Tom Jarmusch's passion for filmmaking, and more importantly for people,
  shines through in every frame of his always inquisitive, poetically
  resonant work. Whether documenting the decline of a once-great city or
  shooting friends and shaggy dog stories, Jarmusch's sympathetic vision
  always cuts straight to the emotional heart of his subject. Frequently
  funny and often funky, shot on any number of mediums (Super-8, 16mm,
  decidedly low-end video cameras), Jarmusch's various shorts smartly
  juxtapose reality and fiction, the present and the past. This two-night
  taster of his extensive body of small-gauge and video works features
  shorts produced in the last fifteen-plus years. We are especially
  excited to offer the premiere of his first feature-length production,
  SOMETIMES CITY. Long in the making, this charming and simultaneously
  frightening portrait of Cleveland is one of the most memorable
  documentaries to be made about an American city in many a moon. "When
  critics speak of the meaning of a work of art rising from its context,
  they might well be describing the films of Tom Jarmusch. For the past
  fifteen years, the filmmaker-photographer has made his home – and his
  films – on and about New York's Lower East Side, where he is a
  ubiquitous presence. In a neighborhood still reeling from the Giuliani
  years' blitzkrieg pace of gentrification and development…Jarmusch is a
  throwback. In fact, in the face of such hostile forces, the artist's
  very survival, much like his art, has taken on the latent political
  charge of resistance." –Bill Raden, CAPTURED: A LOWER EAST SIDE FILM &
  VIDEO HISTORY PROGRAM 1: SOMETIMES CITY 2010, 85 minutes, video. A
  remarkably gritty, rough-hewn, and deeply personal video portrait of
  Cleveland, SOMETIMES CITY features Clevelanders speaking about their
  home, its problems, and the things they like. Conceived as a mixture of
  documentary, home movie, personal memoir, and fiction, it obliquely
  suggests Cleveland's history, its neighborhoods and landscape, and the
  huge heart of the people who inhabit it. The title comes from a poem by
  da levy, whose poetry is heard in the film. An entertaining and
  engrossing look at a once-great city that isn't going anywhere anytime
  soon.

10/22
San Francisco, California: Artists Television Access
http://www.atasite.org/
8pm (doors 7.30), 992 Valencia Street

 ATA 5TH ANNUAL FILM AND VIDEO FESTIVAL: LO-FI FUTURE
  The 5th Annual Artists' Television Access Film & Video Festival
  celebrates original, independent and underground film & video with
  screenings, installations and workshops, October 19th - 23rd. On Friday,
  October 22, ATA will screen the second festival shorts program,"Lo-Fi
  Future," which explores futuristic landscapes and lo-fi culture. This
  program includes films and videos by Kathleen Quillian, Whitney Horn &
  Lev Kalman, Sylvia Schedelbauer, Jeff Guay, Zachary Epcar, Bryan Boyce,
  Jesse McLean, and Kerry Laitala. Chromadepth 3D glasses and chromatic
  jello shots will be provided. $7-$10 sliding scale Doors at 7.30,
  screening at 8

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SATURDAY, OCTOBER 23, 2010
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10/23
London, England: BFI London Film Festival
http://www.bfi.org.uk/lff
12pm to 7pm, BFI Southbank, Belvedere Road, South Bank, SE1 8XT

 STUDIO: THE FUTURIST
  THE FUTURIST (Emily Richardson / UK 2010 / 4 min) Illuminated by the
  light of the projector, the interior of a large, 1920s picture house is
  documented from a central position in the stalls. Emily Richardson's
  films record impressions of environments ranging from natural landscapes
  to industrial or urban spaces. The Futurist is the first of a series in
  homage to the cinema experience. Continuous Projection. Free Admission. 

10/23
London, England: BFI London Film Festival
http://www.bfi.org.uk/lff
2pm, BFI Southbank, Belvedere Road, South Bank, SE1 8XT

 READING BETWEEN THE LINES
  THE INDIAN BOUNDARY LINE (Thomas Comerford / USA 2010 / 42
  min)Comerford's essay maps a historical demarcation which originally
  divided Native American land from that which was ceded to white settlers
  in 1812. Modern life has obscured the traces of this history in the
  Rogers Park district of Chicago. Juxtaposing past with present, footage
  shot along this formerly disputed territory is matched with readings
  from official documents, fiction and quotidian accounts. FLAG MOUNTAIN
  (John Smith / UK 2010 / 8 min) A view across the city of Nicosia, over
  the Green Line border, to an unusual spectacle on a hillside. Lives
  continue in its shadow, amongst the contrasting flags, anthems and calls
  to prayer. WHY COLONEL BUNNY WAS KILLED (Miranda Pennell / UK 2010 / 28
  min) An exploration of turn of the century colonial life along the
  Durand Line, the frontier between Afghanistan and British India (now
  Pakistan). Remarkable period photographs are closely analysed as we
  listen to reports of exchanges between westerners, natives and mullahs
  written by missionary doctor TL Pennell. 

10/23
London, England: BFI London Film Festival
http://www.bfi.org.uk/lff
4pm, BFI Southbank, Belvedere Road, South Bank, SE1 8XT

 SUBLIME PASSAGES
  SHUTTER (Alexi Manis / Canada 2010 / 8 min) SHUTTER suggests the uncanny
  atmosphere and changing light on the day of a total eclipse. DRIFTER
  (Timoleon Wilkins / USA 1996-2010 / 24 min) Fragments of the filmmaker's
  life, home and travels, recorded over a 14-year period. "The glories of
  atmospheric light and colour, inward soul-drifting, and the literal
  sensation of drifting within and through each shot and cut." SHRIMP BOAT
  LOG (David Gatten / USA 2010 / 6 min) "300 shots, 29 frames each,
  alternating between a notebook listing the names of shrimp boats that
  frequent the mouth of the Edisto River and images of these same boats."
  BLUE MANTLE (Rebecca Meyers / USA 2010 / 35 min) Blending 19th century
  American literature with factual accounts, illustrations and music by
  Debussy and Wagner, this oblique portrait of a shipwrecked coastline
  conveys the vastness and majesty of the ocean. A song to the sea, and a
  commemoration of those who have risked their lives off the treacherous
  Massachusetts shore. TRAVELLING FIELDS (Inger Lise Hansen / Norway 2009
  / 9 min) In the third film of her 'inverted perspective' trilogy, Hansen
  turns her camera on the North West Russia, creating monumental and
  uncanny vistas from these barren wastelands.

10/23
London, England: BFI London Film Festival
http://www.bfi.org.uk/lff
7pm, BFI Southbank, Belvedere Road, South Bank, SE1 8XT

 EVERY TIME I SEE YOUR PICTURE I CRY
  EVERY TIME I SEE YOUR PICTURE I CRY (Daniel Barrow / Canada 2008 / 60
  min) Daniel Barrow has developed an intimate mode of 'manual animation'
  using the antiquated technology of an overhead projector. From a
  position amongst the audience, he recites live narration while
  manipulating layers of transparencies in continuous motion. Accentuated
  by interference patterns and sleight-of-hand trickery, Barrow's
  hand-drawn images contrive an absorbing tale of comic book grotesques.
  EVERY TIME I SEE YOUR PICTURE I CRY is a bizarre confessional detailing
  the grand but hopeless scheme of an estranged garbage collector and
  failed art student. Unloved and rejected by society, the protagonist
  begins a universal art project in the form of a telephone directory of
  'profound and intimate insights' to chronicle the lives of those around
  him. As he snoops through the windows and waste bins of fellow citizens,
  his survey is rendered futile by a maniacal killer who follows in his
  wake, picking off subjects one by one. Invoking introspection, pathos
  and dark humour, this award winning performance piece is accompanied by
  an unassuming Beach Boys-inflected score recorded by Amy Linton of The
  Aislers Set. 

10/23
London, England: BFI London Film Festival
http://www.bfi.org.uk/lff
9pm, BFI Southbank, Belvedere Road, South Bank, SE1 8XT

 HIT THE ROAD
  MAKE IT NEW JOHN (Duncan Campbell / UK 2009 / 50 min) The story of the
  DeLorean car and its notorious entrepreneur's Northern Ireland venture,
  assembled from found and reconstructed footage. During a momentous
  period in the province's history, the manufacture of this futuristic
  vehicle was beset by its own troubles – governmental pacts, an
  inexperienced workforce and allegations of misconduct. This insightful
  film, with its Pinteresque finale concerning the plight of the workers,
  raises questions on documentary form and the representation of
  historical events. GET OUT OF THE CAR (Thom Andersen / USA 2010 / 34
  min) Andersen's latest homage to Los Angeles takes time to stop and
  consider the temporary architecture of roadside billboards, community
  murals and hand-painted signs. A movie about the ephemeral sights of the
  city, with a rocking soundtrack of local music and the confused
  interjections of passers-by. 

10/23
Los Angeles, California: Redcat
http://www.redcat.org/
6:00pm, 631 W. 2nd St., Los Angeles, CA 90012

 BETWEEN DISPLACEMENT AND NOSTALGIA: CONFLICTED MEMORIES OF CUBA
  Tomás Gutiérrez Alea: Memorias del subdesarrollo (Memories of
  Underdevelopment), Cuba, 1968, 97 min., 35mm. Followed by a discussion
  with Cuban novelist Edmundo Desnoes. And by Miguel Coyula: Memorias del
  desarrollo (Memories of Overdevelopment), USA/Cuba, 2010, 113 min.,
  HDCAM One of the first international successes of Third Cinema, Tomás
  Gutiérrez Alea's classic film was banned in the United States for five
  years, a victim of the embargo on post-revolutionary Cuba. Memories of
  Underdevelopment imaginatively transposes Edmundo Desnoes' eponymous
  stream-of-consciousness novel into a modernist cinematic space. Desnoes'
  ambivalence toward the new regime grew, and in 1979 he defected to the
  United States, where he wrote Memories of Overdevelopment, a companion
  piece to his earlier work. His writings in turn inspired young Cuban
  filmmaker Miguel Coyula, who uses the digital-media tools of his
  generation to comment on the issues that have fascinated Desnoes: the
  hunger to embrace a revolutionary cause versus political
  disillusionment, feeling displaced in one's own country and in permanent
  exile in the country of one's choice, the protracted conflict between
  underdevelopment and overdevelopment, and, last but not least, acerbic
  sexual politics. Desnoes will share his point of view on both films,
  creating a dialogue between Gutiérrez Alea's masterpiece and Coyula's
  multilayered visual experiment. In person: Edmundo Desnoes and Miguel
  Coyula/ Jack H. Skirball Series $15 [students $12, CalArts $8] Includes
  both screenings and discussion 

10/23
New York, New York: Cut and Run 
http://cutandruntour.wordpress.com/
8:00 pm, 66 E. 4th St. New York, NY 10003

 CUT AND RUN: "EVOLUTION AND LIFE" CO-PRESENTED WITH UNIONDOCS
  OCTOBER 23 (Sat.) CUT & RUN: "EVOLUTION and LIFE" Cut and Run is a
  traveling tour of experimental shorts curated by Mallary Abel and Brenda
  Contreras. The "EVOLUTION AND LIFE" program, co-presented with
  UnionDocs, focuses on cycles of minds, bodies, and filmstrips. Each work
  represents a perspective of itself as one, in contrast to others.
  Experience a cinematic evolution through cycles of the mind, body, and
  medium in this montage from filmmakers throughout the world. With films
  by: 12 ERASED TRAILERS (2010, Spain, 11 min) by Alberto Cabrera Bernal
  PEEKS (2009, 3 min) by Jo Dery ALIKI (2010, Cyprus, USA, 5 min) by
  Richard Wiebe BODY (2010, France, 7 min) by Frederic Cousseau CAT'S
  CRADLE (2010, USA, 4 min) by Ray Rea MEMORIES (2004, Germany, 19 min) by
  Sylvia Schedelbauer LILLY (2007, USA, 6 min) by Jodie Mack CUTS IN
  MOTION (2008, USA, 5.5 min) by Brenda Contreras Visit the Cut and Run
  site for detailed film and program information.

10/23
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
5:00 pm, 32 2nd Avenue

 ESSENTIAL CINEMA: ZVENIGORA
  by Alexandr Dovzhenko No English intertitles; English synopsis
  available, 1928, 96 minutes, 35mm Dovzhenko's second film, attacked by
  Soviet critics for being so beautifully rendered as to actually lessen
  its political impact, remains today a "cinematic poem" as the director
  named it. Dovzhenko wrote: "I did not so much make the picture as sing
  it out like a songbird." Episodic, folkloric, and allegorical, it is a
  mythic search for hidden treasure by two brothers.

10/23
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30 pm, 32 2nd Avenue

 TOM JARMUSCH PROGRAM
  PROGRAM 2: SHORTS UNTITLED (4 minutes, 16mm) DREAM (1995/2004, 4
  minutes, Super8-to-16mm) Scratches and splices partially obscure this
  quizzical tale about a guy buying a gun. FRIENDS (1994, 30 minutes,
  video) "The culmination of ten years of bohemian austerity, aesthetic
  discipline and bitter life experience. … Jarmusch creates an air of
  extreme psychological distance and discontinuity. His Lower East Side
  becomes a profoundly alienated, schizophrenic place dominated by random,
  seemingly purposeless encounters in which emotional commitment has all
  the permanence of a handshake and the 'friends' of the title prove
  anything but. … [A]rguably a minor masterwork of comedy of the
  grotesque." – Bill Raden, CAPTURED ALFREDO (2000, 8 minutes,
  16mm-to-video) A truly lovely, eye-opening silent portrait of 300-pound
  artist Alfredo Martinez firing guns and playing video games during his
  1999-2000 project QUIET. DOCUMENT MEMORY, FOR MY FRIEND BILL RICE (2006,
  12 minutes, video) An all-too-brief document of departed East Village
  icon, painter, and actor Bill Rice. Plus, expect a few additional,
  surprise shorts…

10/23
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
8:30 pm, 32 2nd Avenue

 SOMETIMES CITY
  See notes for Oct. 22nd, 7:30 pm. 

10/23
San Francisco, California: Other Cinema
http://www.othercinema.com/
8:30pm, Artists' Television Access, 992 Valencia Street, San Francisco, CA 94110

 GERRY FIALKA'S PXL THIS 19 +	
  The penultimate part of our Dead Media mini-series (the fifth
  iteration's on 12/11), Gerry Fialka's annual PXL THIS FEST returns to
  OC, featuring a new set of motion pictures made with the Fisher–Price
  PXL 2000 toy camcorder, a plastic video camera that records low-res b/w
  video onto audio-cassettes! The NorCal premiere of PXL inventor's James
  Wickstead's Color PXL unveils the only footage ever shot with the
  one-of-a-kind PXL-2000 color camcorder. ALSO on view are Jesse Drew's
  Cultural Democracy, Mariko Drew's Wild Beast, 6-year-old Chester
  Burnett's Donut Memorial, Lisa Marr/Paolo Davanzo's The Chaser, Janor
  Hypercleats' Interview with Rockstar Marilyn Osbourne, and Gerry
  Fialka's own Effects Precede Causes. An electronic invocation by
  presiding media guru Korla Pandit opens the door to a signature Fialka
  conspiracy yarn. 

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SUNDAY, OCTOBER 24, 2010
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10/24
Boston, Massachusetts: Arts Emerson
https://artsemerson.org/Online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=825C0101-F661-436F-9CDD-FB0A92234FC4
7 pm, Bright Family Screening Room 559 Washington St

 AVANT-GARDE SHOWCASE: STAN BRAKHAGE 
  We commence a recurring showcase of international experimental cinema
  with this program of films by Stan Brakhage, the luminary artist whose
  oeuvre of over 350 films comprises the passionate, expansive and
  visionary poetry of one of the most important figures in the history of
  American cinema. Spanning several decades of Brakhage's career, the
  selected films: Thigh Line Lyre Triangular (1961, 5 minutes); The
  Animals of Eden and After (1970, 35 minutes); Creation (1979, 17
  minutes); He Was Born, He Suffered, He Died (1974, 7 minutes); The
  Mammals of Victoria (1994, 34 minutes). Prints include recent
  restorations by the Academy of Motion Picture Arts and Sciences, which
  has dedicated itself to the preservation of Brakhage's films. $10. $7.50
  for Members. $5 for Students. 98 minutes Color, Black and White, 16mm
  Silent

10/24
London, England: BFI London Film Festival
http://www.bfi.org.uk/lff
12pm to 7pm, BFI Southbank, Belvedere Road, South Bank, SE1 8XT

 STUDIO: SHADOW CUTS
  SHADOW CUTS (Martin Arnold / Austria 2010 / 4 min) Alternately consumed
  by darkness and blinded by the light, Mickey and Pluto are caught in an
  eternal embrace by a film that refuses to end. In his films and digital
  works, Martin Arnold uses intense repetition or subtle substitution to
  reveal subliminal nuances beneath the surface of pre-existing footage.
  Continuous Projection. Free Admission. 

10/24
London, England: BFI London Film Festival
http://www.bfi.org.uk/lff
2pm, BFI Southbank, Belvedere Road, South Bank, SE1 8XT

 THREE FILMS BY NATHANIEL DORSKY
  Nathaniel Dorsky finds moments of profound beauty among the shadows,
  reflections and luminosity of city life and the natural world. His open
  form of filmmaking creates a space for the viewer's contemplation amidst
  the subtle and astonishing images which radiate from the screen. This
  programme presents two new films together with a recent preservation of
  a formative early work. COMPLINE (Nathaniel Dorsky / USA 2009 / 19 min)
  "COMPLINE is a night devotion or prayer, the last of the canonical
  hours, the final act in a cycle. It is the last film I will be able to
  shoot in Kodachrome; a loving duet with and a fond farewell to this
  noble emulsion." AUBADE (Nathaniel Dorsky / USA 2010 / 12 min ("An
  aubade is a morning song or poem evoking the first rays of the sun at
  daybreak. In some sense, it is a new beginning for me." HOURS FOR JEROME
  (Nathaniel Dorsky / USA 1966-70/1982 / 45 min) (restoration print) "An
  arrangement of images, energies, and illuminations from daily life.
  These fragments of light revolve around the four seasons and are very
  much a part of the youthful energy and poignant joy of my mid-20s. In
  medieval European Catholicism, a 'Book of Hours' was a series of prayers
  presented eight times every 24 hours. Each 'hour' had its own qualities,
  from pre-dawn till very late at night, and these qualities also changed
  through the progressing seasons of the year." HOURS FOR JEROME has been
  preserved by Pacific Film Archive with support from the National Film
  Preservation Foundation. 

10/24
London, England: BFI London Film Festival
http://www.bfi.org.uk/lff
4pm, BFI Southbank, Belvedere Road, South Bank, SE1 8XT

 LEWIS KLAHR PRESENTS PROLIX SATORI
  Collage artist Lewis Klahr introduces PROLIX SATORI, an ongoing series
  which appropriates images from comics, magazines and catalogues. A
  filmmaker since the 1980s, his signature style is saturated in
  mid-century Americana but addresses universal experience and is
  resolutely contemporary. Retaining distinctive handcrafted qualities
  across a recent shift to digital, Klahr choreographs comic book
  characters in fractured landscapes of patterns, textures and
  architectural details. Going beyond abstraction and nostalgic cliché, he
  builds high melodrama from modest means, conjuring elliptical narratives
  that evoke complex moods and emotions. Within PROLIX SATORI, a new
  project of 'couplets' elicits different atmospheres through repetitions
  of soundtracks or imagery. An emotive mix of classical, easy listening
  and iconic pop music carries viewers through tales of lost love and
  wistful reverie. This screening is a chance to be immersed in the
  idiosyncratic world of a widely acclaimed artist making his first UK
  appearance. FALSE AGING (Lewis Klahr / USA 2008 / 15 min) NIMBUS SMILE
  (Lewis Klahr / USA 2009 / 8 min) NIMBUS SEEDS (Lewis Klahr / USA 2009 /
  8 min) CUMULONIMBUS (Lewis Klahr / USA 2010 / 10 min) SUGAR SLIM SAYS
  (Lewis Klahr / USA 2010 / 7 min) WEDNESDAY MORNING TWO A.M. (Lewis Klahr
  / USA 2009 / 7 min) LETHE (Lewis Klahr / USA 2009 / 23 min) 

10/24
London, England: BFI London Film Festival
http://www.bfi.org.uk/lff
7pm, BFI Southbank, Belvedere Road, South Bank, SE1 8XT

 BREAK ON THROUGH
  GHOST ALGEBRA (Janie Geiser / USA 2009 / 8 min) "Under erratic skies, a
  solitary figure navigates a landscape of constructed nature and broken
  bones. She peers through a decaying aperture, waiting and watching: the
  fragility of the body is exposed for what it is: ephemeral, liquid, a
  battlefield of nervous dreams." STILL RAINING, STILL DREAMING (Phil
  Solomon / USA 2009 / 15 min) Videogaming was never meant to be this way:
  uncanny and elegiac in tone, poignant and considered in practice. By
  betraying the violent subtext of his source material, Solomon has found
  genuine poetry in the desolate spaces of digitally constructed worlds.
  SO SURE OF NOWHERE BUYING TIMES TO COME (David Gatten / USA 2010 / 9
  min) The windows of a small antique store in the Rocky Mountains
  displays carefully arranged curiosities – specific objects each with
  their attendant histories. Visible traces of past uses, previous lives,
  secrets and significance. FORMS ARE NOT SELF-SUBSISTENT SUBSTANCES
  (Samantha Rebello / UK 2010 / 22 min) Words, concepts, things.
  Referencing Aristotle and illuminated manuscripts, Rebello asks 'What is
  substance?' Romanesque stone carvings are measured against latter-day
  beasts, seeking parity between medieval perception and a present-day
  embodiment. FACTS TOLD AT RETAIL (AFTER HENRY JAMES) (Erin Espelie / USA
  2010 / 9 min) "The author of The Golden Bowl acts as the confessed
  agent, and the glass through which every image is reflected or filtered
  takes on a kind of consciousness." COSMIC ALCHEMY (Lawrence Jordan / USA
  2010 / 24 min) A voyage in the celestial realm, out beyond
  consciousness, steered by a master of mystical transformation. Wondrous
  visions are charted on star maps from the Harmonia Macrocosmica to a
  spellbinding drone track by John Davis. 

10/24
London, England: BFI London Film Festival
http://www.bfi.org.uk/lff
9pm, BFI Southbank, Belvedere Road, South Bank, SE1 8XT

 PEOPLE GOING NOWHERE
  DE MOUVEMENT (Richard Kerr / Canada 2009 / 7 min) Kerr's mind-bending
  trip through the wipes and dissolves of old feature films is an
  exhilarating demonstration of the power of cinema. MAY TOMORROW SHINE
  THE BRIGHTEST OF ALL YOUR MANY DAYS AS IT WILL BE YOUR LAST (Ben Rivers
  & Paul Harnden / UK 2009 / 13 min) Female Japanese cadets patrol the
  woods and countryside where old men channel Futurist poets. Adjacent
  yes, but simultaneous? BRUNE RENAULT (Neil Beloufa / France 2009 / 17
  min) An abandoned car park is no substitute for the open road. Four
  characters find themselves in a looped fiction, replete with cliches,
  acting out cycles of heightened emotions. Like all teenagers, they think
  the world revolves around them – and in this film it almost does. VOT
  (Victor Alimpiev / Russia 2010 / 5 min) As if suspended in limbo, or
  perhaps deep in rehearsal, five performers exchange glances, gestures
  and utter strange sounds. KINDLESS VILLAIN (Janie Geiser / USA 2010 / 4
  min) Two boys seem trapped inside their own imaginations, dreaming of
  naval battles and Egyptian exotica. COMING ATTRACTIONS (Peter
  Tscherkassky / Austria 2010 / 24 min) With humour and materialist
  dynamics, Tscherkassky explores the direct relationship between actor,
  camera and audience. A meditation on the 'cinema of attractions';
  exploiting leftovers from the commercial industry to collide the
  intersecting forms of early film and the avant-garde. 

10/24
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
7:30 pm, Echo Park Film Center, 1200 N Alvarado St. (@ Sunset Blvd.) 

 HERE: A SURVEY OF FILMS AND VIDEOS BY VINCENT GRENIER
  Vincent Grenier is a pioneering North American film-and-video artist who
  has left his distinctive mark on the San Francisco, Montreal and New
  York avant-gardes. Grenier's work evinces a keen photographic eye and a
  subtle sense of how images combine to create feeling. With influences as
  disparate as Eastern painting, Dryer's Jeanne d'Arc and Ernie Gehr,
  Grenier has charged his cinema with an electric self-reflexivity whose
  energy does not preclude moments of absolute clarity and even meditative
  stillness. The evening will range widely in terms of technique, form and
  format, but each work achieves a unique poetry that can be at once
  tough, tenuous and tender.


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