[Frameworks] This week [March 11 - 19, 2017] in avant garde cinema

Sat Mar 11 19:57:37 UTC 2017

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** This week [March 11 - 19, 2017] in avant garde cinema
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Eddie Becker: 5 Decades On the Ground, visiting From Dc (#anchor6) [March 13, Brooklyn, New York]

NEW CALLS FOR ENTRIES:
Fracto (Berlin; Deadline: April 20, 2017)
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Finger Lakes Environmental Film Festival (FLEFF) (Ithaca, NY, USA; Deadline: April 15, 2017)
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DEADLINES APPROACHING:
Winnipeg Underground Film Festival (Winnipeg, MB, Canada; Deadline: March 31, 2017)
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Finger Lakes Environmental Film Festival (FLEFF) (Ithaca, NY, USA; Deadline: April 15, 2017)
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Events are sorted alphabetically BY CITY within each DATE.

This week's programs (summary):
* Ny Feminist Film Week Program 7 (#anchor1) [March 11, New York, New York]
* Mar11: Larry Jordan/John Davis + Cook + Colburn (#anchor2) [March 11, San Francisco, California]
* Expanded Cinema Selections From the Canyon Collection (#anchor3) [March 11, San Francisco, California]
* Ny Feminist Film Week Program 8 (#anchor4) [March 12, New York, New York]
* Shapeshifters Cinema Presents Alex Mackenzie (#anchor5) [March 12, Oakland]
* Eddie Becker: 5 Decades On the Ground, visiting From Dc (#anchor6) [March 13, Brooklyn, New York]
* Show & Tell: Julie Murray Program 1 (#anchor7) [March 13, New York, New York]
* A Roll For Peter / SkagafjöRðUr (#anchor8) [March 13, Oakland, California]
* Performance // Poetics: Trudgeon & Shuta (#anchor9) [March 13, Tucson, AZ]
* Flaherty Nyc Program 5 (#anchor10) [March 14, New York, New York]
* Show & Tell: Julie Murray Program 2 (#anchor11) [March 14, New York, New York]
* Cinema Mon Amour: Sharon Lockhart, Program 1 (#anchor12) [March 15, Berkeley, California]
* José Val Del Omar Program 1 (#anchor13) [March 16, New York, New York]
* José Val Del Omar Program 2 (#anchor14) [March 17, New York, New York]
* José Val Del Omar Program 3 (#anchor15) [March 18, New York, New York]
* José Val Del Omar Program 2 (#anchor16) [March 18, New York, New York]
* Mar18: Cox/Baldwin + A. Coppola + Tabar + Rourke (#anchor17) [March 18, San Francisco, California]
* Light Industry At Bridget Donahue: Carbon Life (#anchor18) [March 19, New York, New York 10002]
* José Val Del Omar Program 3 (#anchor19) [March 19, New York, New York]
* José Val Del Omar Program 1 (#anchor20) [March 19, New York, New York]

SATURDAY, MARCH 11, 2017

3/11
New York, New York: Anthology Film Archives
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5:00 pm, 32 2nd Ave.
NY FEMINIST FILM WEEK PROGRAM 7
Barbara Hammer and Joey (formerly known as Gina) Carducci in person. This program pays homage to queer cinema pioneer Barbara Hammer in the context of the theme of feminist film genealogies by placing two of Hammer’s films beside a work by her mentee, Joey (formerly known as Gina) Carducci, and a film they made together. Hammer’s DYKETACTICS articulates lesbian desire and sexuality through the physicality of the female body and the materiality of the film medium. NITRATE KISSES weaves striking images of four gay and lesbian couples with footage of an unearthed forbidden and invisible history. In A VIDEO LETTER TO BARBARA HAMMER, Carducci comes out as transgender to Hammer, his mentor and friend, placing transmasculinity in the context of feminist and queer politics. Their collaborative film, GENERATIONS, is about mentoring and passing on the tradition of personal experimental filmmaking. Hammer, 70 years old, hands the camera to Carducci, a young queer filmmaker. As they
shoot during the last days of Astroland at Coney Island, the filmmakers find that the amusement park architecture and the emulsion of the film medium itself echo the inevitable fact of aging. Barbara Hammer DYKETACTICS (1974, 4 min, 16mm) Barbara Hammer NITRATE KISSES (1992, 67 min, 16mm) Joey (formerly known as Gina) Carducci A VIDEO LETTER TO BARBARA HAMMER (2016, 16 min, 16mm-to-digital) Barbara Hammer and Gina (now known as Joey) Carducci GENERATIONS (2010, 30 min, 16mm) Total running time: ca. 120 min.

3/11
San Francisco, California: Other Cinema
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8:30 PM, 992 Valencia St.
MAR11: LARRY JORDAN/JOHN DAVIS + COOK + COLBURN
OC’s presiding patch-master John Davis brings his synth-musical mastery to bear on an old and a new animation by Larry Jordan, both in 16mm!! That patriarch of Bay Area cut-out animation is thankfully still single-framing away, and the world premiere of his Night Light is co-featured with his 1980 Folds of the Fortnight (co-directed with Jess!). The debut of Lauren Cook’s sublime Trans/Figure/Ground is similarly matched with her earlier 16mm Altitude Zero (on Amelia Earhart). ALSO in its West Coast debut is Martha Colburn’s Pug Adventures, an animated journey through the human reproductive system! PLUS Karen Ver Trinidad’s (in person) Kinetic Identity, Salise Hughes’ Boating Song, and even more pixilations from Deborah Kelly, Kelly Gallagher, and Mary Ellen Bute (her rare ’37 Parabola). Free toast, jam. and nutella!*$8

3/11
San Francisco, California: San Francisco Cinematheque
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4:30pm, Kanbar Forum @ The Exploratorium | Pier 15
EXPANDED CINEMA SELECTIONS FROM THE CANYON COLLECTION
Emerging in the 1960s as a counterpoint to established cinematic traditions, the trajectory of expanded cinema is rich in experimentation, aesthetic diversity, and works that are enduringly relevant. Nestled within the collection of local film distributor Canyon Cinema are several essential expanded cinema works that track the breadth of this particular form of cinema experience. Join media artist and expanded cinema provocateur Alex Mackenzie for a fascinating array of expanded cinema works from Canyon's shelves. From films that create visual conversations through multiple projectors to works that forgo the traditional movie screen entirely, each selection radically reimagines the language of cinema.

SUNDAY, MARCH 12, 2017

3/12
New York, New York: Anthology Film Archives
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7:30 pm, 32 2nd Ave.
NY FEMINIST FILM WEEK PROGRAM 8
This screening is part of: NEW YORK FEMINIST FILM WEEK Film Notes Signe Baumane and Joanna Rytel in person. This program pairs two feminist animators who explore women’s sexuality and mental illness without bounds. In Joanna Rytel’s claymation film, MOMS ON FIRE, two pregnant women find much needed relief in each other, while in Signe Baumane’s BIRTH a young woman afraid of giving birth becomes even more frightened when she seeks advice from older women. Baumane’s ROCKS IN MY POCKETS is based on true events involving five women in the filmmaker’s family, including herself, and their battles with depression and suicide. The animated feature raises questions about how family genetics determine who we are and if it is possible to outsmart one’s own DNA. It is an animated tale full of art, women, strange daring stories, Latvian accents, history, nature, adventure, and more. Joanna Rytel MOMS ON FIRE (2016, 13 min, digital) Signe Baumane BIRTH (2009, 4 min, digital) & Signe
Baumane ROCKS IN MY POCKETS (2013, 89 min, digital) Total running time: ca. 110 min.

3/12
Oakland: Shapeshifters Cinema
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7:30-10PM, Temescal Art Center, 511 48th St.
SHAPESHIFTERS CINEMA PRESENTS ALEX MACKENZIE
Inspired by early stereo imaging and the clash and collusion of socioeconomic forces, "Apparitions" by Vancouver-based filmmaker Alex Mackenzie is a two-projector film performance that seeks to dismantle cinematic codes while foregrounding projector and light as sculpture: a conscious corruption of and interference with the apparatus to evoke the unexpected, reshaping representation into the realm of material and space. Using color gels, masking, lens interference and projector movement in tandem with an exploration of binocular disparity, perspective, patterning and the film surface itself, "Apparitions" explores the transitional space between image and abstraction, nature and culture.

MONDAY, MARCH 13, 2017

3/13
Brooklyn, New York: Microscope Gallery
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7:30pm, 1329 Willoughby Ave 2B
EDDIE BECKER: 5 DECADES ON THE GROUND, VISITING FROM DC
Artist in person, Q&A follows. Microscope Gallery is pleased to present a long-anticipated first solo screening in New York by DC independent video maker Eddie Becker. Becker, who began taping in the early 1970s with his Sony Portapak camera and is currently working with iPhone and 4K, has been making his “instant documentaries” using the equipment of the times he is covering to record the actions and professed ideals, beliefs and values of the American populace as revealed through protests, gatherings and other activities on the streets of the Nation’s capital. I wanted an independent view of reality. I wanted to make more complex stories than the three-minute reports, where the correspondent talks over images to a predetermined script. ... — EB The works in the program – selected from hundreds of short works spanning nearly 50 years of economic, social and political issues under 9 presidents from Nixon to Trump– find Becker in the role of an independent and rational
questioner who through what he calls “asking the obvious” solicits candid responses from those he interviews. The night culminates with the premiere of Becker’s latest work “Creating TV in the Time of Trump”. General Admission $8, Students w/ ID $6, Free for Members! Eddie Becker is a longtime Washington DC resident, archival researcher & documentary filmmaker. He has been working with independent video since the early 1970s recording and interviewing protestors, activists and others in the streets of DC about the issues and beliefs that matter to them. He has also worked as a cameraman for CNN and as part of documentary crews that went to conflict zones during the wars in El Salvador (El Salvador "names of war" " with Dimitri Devyatkin), Eritrea/Ethiopia ( "Songs of the Next Harvest" and others) and Peru (with Ilan Ziv) He taught video production in Bologna, Italy (with the film director Roberto Faenza) and in Sandinista Nicaragua and Eritrea (with Yvan Patry, Alter-Cine).
More info at www.microscopegallery.com.

3/13
New York, New York: Anthology Film Archives
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7:30 pm, 32 2nd Ave.
SHOW & TELL: JULIE MURRAY PROGRAM 1
Artist Julie Murray began her career as a painter and photographer, but soon after moving to the U.S. from her native Dublin in 1985 she began making experimental films as well. Her filmmaking has continued to co-exist, and draw inspiration from, her work in painting and photography, and she has also collaborated with numerous artists, musicians, and other filmmakers to create multimedia installations and performances. Her works use a variety of strategies, but most of them find Murray combining images – either filmed by the artist herself or mined from found footage – in intuitive and suggestive ways. And many of her films share a preoccupation with physical and natural phenomena – they often repurpose medical or other scientific footage, or zoom in on insect, animal, or plant life to explore the palpably, irreducibly physical dimensions of the world. Making striking use of macro-photography, Murray has a tendency to slowly rack focus, revealing – almost by magic – different
layers or dimensions of the reality that exists before her camera, as well as creating movement in the image through purely optical means, rather than by setting either her subject or her camera in motion. Like other experimental filmmakers past and present, Murray is also interested in the properties of her medium – mainly Super-8mm and 16mm film, and more recently video – but in her hands, as often as not, these explorations fuse with and amplify her fascination with the textures, hidden structures, and physical properties of the natural world: emulsion scratches call to mind spider webs, splotches caused by film deterioration resemble skin conditions, splices feel like incisions. The result is a body of work marked by an extraordinary tactility, as well as awe before the mystery of natural processes. These two screenings will provide a chance to survey Murray’s work over the last three decades, beginning with a pair of her Super-8mm films from 1988 – newly preserved to
16mm by Bard College – and stretching all the way to her newest work from 2016. “Using combinations of found and original footage, Julie Murray makes subtle and eloquent films that imbue banal images and everyday sounds with an other-worldly charge, a sense of mystery and menace.” –Chris Gehman, CINEMATHEQUE ONTARIO PROGRAM 1: FL.OZ (2002, 8 min, 16mm, silent) ELEMENTS (2008, 8 min, 16mm) UNTITLED (LIGHT) (2002, 5 min, 16mm) ORCHARD (2004, 10 min, 16mm) DISTANCE (2010, 14 min, 16mm) LINE OF APSIDES (2015, 13 min, 16mm, silent) Total running time: ca. 70 min.

3/13
Oakland, California: Aggregate Space Gallery
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8p, 801 W Grand Av
A ROLL FOR PETER / SKAGAFJöRðUR
Not long after filmmaker Peter Hutton passed away in June 2016, colleagues Jennifer Reeves and Mark Street put out a call: shoot a 100 foot roll of 16mm black and white, thinking about Peter and his work in solitude. Process it. Submit it. They sequenced the three dozen submissions into movements of double and single projection, and screened the tribute at Bard College and Brooklyn's Mono No Aware festival. Contributor Eric Theise, feeling he was not alone in wanting to view the project, began to arrange a North American tour, which has expanded to nearly twenty cities. A Roll for Peter features a wide variety of approaches to filmmaking, from impeccable processing in commercial labs to splotchy development in buckets, unslit regular 8mm, single frame animation, full runs of spring-wound Bolexes. Subjects range from the urban and unspoiled landscapes that drew Hutton through abstraction to antiquarian texts and nothing but text. The memorial contains homages to specific
scenes in Hutton's oeuvre as well as unspoken, less direct tributes to Hutton as friend and mentor. Contributors include: Dominic Angerame, Roddy Bogawa, Cassandra Bull, Jacob Burckhardt, Jesse Cain, David Gatten, Richard Max Gavrich, George Griffin, Eve Heller, Mott Hupfel, Nikolas Jaeger, Amanda Katz & Josh Lewis, Theodore Rex King, Robbie Land, rebecca (marks) leopold, Paul Marcus, Daryl Meador, Mary Beth Reed, Jennifer Reeves, Dave Rodriguez, Peter Rose, Lynne Sachs, Josephine Shokrian, Fern Silva & students, Jordan Stone, Mark Street, G. Anthony Svatek & Zachary Nichols, Eric Theise, Audrey Turner, Michael Wawzenek, Max Weinman & Jake Carl Magee, and Timoleon Wilkins. Also on the program, Skagafjörður (2004), Peter Hutton's silent, 33 minute meditation on the landscapes of northern Iceland and the Hudson River Valley, in color and black & white. Of Skagafjörður, Michael Sicinski writes: "Hutton moves us around—not through or across—a northern Icelandic landscape. Each
shot maintains an internal integrity; it invites, but does not demand, a connection to those around it. Hutton brings everything to bear here: Hudson River skies, shots of moving water, low hillscapes, distant shots from the shore depicting tiny crafts dwarfed by the massive expanse of nature. Moreover, Skagafjördur combines colour and black-and-white imagery, resulting in a veritable compendium of attitudes toward painterly light. Scott MacDonald concurs: "it is among his most remarkable Luminist works".

3/13
Tucson, AZ: Exploded View Microcinema
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7:30, 197 E Toole Ave
PERFORMANCE // POETICS: TRUDGEON & SHUTA
(Performance // Poetics is a series of poetics implanted in performance and media art curated by Housten Donham.) Tom Trudgeon is an artist and writer from the San Fernando Valley. His work quizzes the ways in which everyday experience brushes up against limitlessness, primarily via video and monologue. Andrew Shuta co-runs Spork Press, a DIY publishing house, and Everybody, a new art gallery in Tucson. His radiant multi-media work is typically drenched in glossy intensities.

TUESDAY, MARCH 14, 2017

3/14
New York, New York: Anthology Film Archives
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7:00 pm, 32 2nd Ave.
FLAHERTY NYC PROGRAM 5
Jorge León and Eric Stewart in person. This transcendental program is a tribute to the fragility and grace of the human condition. Between reality and representation, tragedy of the body and freedom of the spirit, the films address the life-affirming possibilities of communal artistic activity and sensorial encounters, inviting us to participate in a visual record of mourning substantiated in celluloid. Jorge Leon BEFORE WE GO (2014, 82 min, digital. In English and French with English subtitles.) Eric Stewart WAKE (2014, 8 min, 35mm-to-16mm) Total running time: ca. 95 min.

3/14
New York, New York: Anthology Film Archives
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7:30 pm, 32 2nd Ave.
SHOW & TELL: JULIE MURRAY PROGRAM 2
PROGRAM 2: TR’CHEOT’MY PS’Y (1988, 5 min, Super 8mm-to-16mm. Preservation by Bard College with support form the National Film Preservation Foundation.) A LEGEND OF PARTS (1988, 10 min, Super 8mm-to-16mm. Preservation by Bard College with support form the National Film Preservation Foundation.) ANATHEMA (1996, 7 min, 16mm) IF YOU STAND WITH YOUR BACK TO THE SLOWING OF THE SPEED OF LIGHT IN WATER (1997, 17 min, 16mm) MICROMOTH (2000, 7 min, 16mm) OUR EYES ARE ARMED BUT WE ARE STRANGERS TO THE STARS (2016, 13 min, digital) UNTITLED (EARTH) (2016, 10 min, digital) FREQUENCY OBJECTS (2005, 5 min, digital) Total running time: ca. 80 min.

WEDNESDAY, MARCH 15, 2017

3/15
Berkeley, California: Pacific Film Archive
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7pm, 2155 Center Street
CINEMA MON AMOUR: SHARON LOCKHART, PROGRAM 1
Rudzienko: United States, 2016. Lockhart collaborated with young women living in a group home in Poland to create these expressive, carefully composed vignettes on their lives, thoughts, and desires. Sharon Lockhart in person

THURSDAY, MARCH 16, 2017

3/16
New York, New York: Anthology Film Archives
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7:30 pm, 32 2nd Ave.
JOSé VAL DEL OMAR PROGRAM 1
7:30 PM JOSÉ VAL DEL OMAR, PROG. 1: THE MISIONES PEDAGÓGICAS OF THE SPANISH SECOND REPUBLIC Share + This screening is part of: DISTANT TOUCH: JOSÉ VAL DEL OMAR: A RETROSPECTIVE Film Notes March 16: Presented by Luis Pérez-Oramas During the 1930s, Val del Omar worked as a cinematographer, photographer and projectionist for the Misiones Pedagógicas, the Spanish Second Republic’s program charged with bringing literature, theater, and cinema to rural populations. Val del Omar understood film as an ideal instrument for the modern pedagogical trends inspiring the Misiones, notably its emphasis on bringing together instinct and consciousness, brain and heart, learning through aesthetic experience. Val del Omar shot more than fifty documentaries during the Misiones but just a few are preserved: SCENES 1932 (1932) and CHRISTIAN FEASTS / SECULAR FEASTS (1934-35). Most of these documentary films were shot using a camera lens of his invention, a sort of zoom avant la lettre. This
experimental zoom lens was the first of a long list of technical innovations that accompanied Val del Omar’s aesthetic and technological endeavors, reaching his highest point in his masterpiece: ELEMENTARY TRIPTYCH OF SPAIN (TRÍPTICO ELEMENTAL DE ESPAÑA). José Val del Omar SCENES 1932 / ESTAMPAS 1932 (1932, 13 min, 35mm-to-digital) José Val del Omar CHRISTIAN FEASTS / SECULAR FEASTS / FIESTAS CRISTIANAS / FIESTAS PAGANAS (1935, 51 min, 16mm-to-digital) Luis Buñuel LAND WITHOUT BREAD / LAS HURDES: TIERRA SIN PAN (1933, 27 min, 16mm, b&w) Total running time: ca. 95 min.

FRIDAY, MARCH 17, 2017

3/17
New York, New York: Anthology Film Archives
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7:30 pm, 32 2nd Ave.
JOSé VAL DEL OMAR PROGRAM 2
JOSÉ VAL DEL OMAR, PROG. 2: ELEMENTARY TRIPTYCH OF SPAIN Share + This screening is part of: DISTANT TOUCH: JOSÉ VAL DEL OMAR: A RETROSPECTIVE March 17: Presented by Lur Olaizola VIBRATION OF GRANADA marks a turning point towards poetic documentary in the Valdelomarian trajectory. This lyric portrait of the Alhambra announces many of the features of his complex ELEMENTARY TRIPTYCH, which he started almost two decades later and is generally considered Val del Omar’s masterpiece. Composed of three films, each related to a natural element (soil, fire, and water), it describes a symbolic geography of Spain, from Finisterre to Granada. Val del Omar contemplated different possible sequential arrangements, settling on an order that inverses the chronology of the productions. Each piece was carefully designed to highlight Val del Omar’s various technological and expressive innovations, all of which strove to explode the limits of the screen and explore the potential of an expanded
cinema. WATER-MIRROR OF GRANADA utilized the Diaphonic System (Sistema Diafónico) that Val del Omar created in 1944, an electro-acoustic sound system that transcended the conventional stereophonic method, anticipating the structure of surround sound. Another of his experiments was the Tactile Vision (Vision Táctil), which he put into practice in the second part of his triptych, FIRE IN CASTILLE. The third and final part of the TRIPTYCH, GALICIAN CARESS (OF CLAY) was shot in 1961-62, but Val del Omar postponed the editing, and it was left unfinished at his death in 1982. José Val del Omar VIBRATION OF GRANADA / VIBRACIÓN DE GRANADA (1935, 20 min, 16mm-to-digital) José Val del Omar GALICIAN CARESS (OF CLAY) / ACARIÑO GALAICO (DE BARRO) (1961/1995, 23 min, 35mm) José Val del Omar FIRE IN CASTILLE / FUEGO EN CASTILLA (1958-60, 17 min, 35mm) José Val del Omar WATER-MIRROR OF GRANADA / AGUAESPEJO GRANADINO (1953-55, 21 min, 35mm) Total running time: ca. 85 min.

SATURDAY, MARCH 18, 2017

3/18
New York, New York: Anthology Film Archives
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6:00 pm, 32 2nd Ave.
JOSé VAL DEL OMAR PROGRAM 3
March 18: Presented by Mónica Savirón WATER-MIRROR OF GRANADA and FIRE IN CASTILLE feature a characteristic end title that illustrates Val del Omar’s continuous research and inexhaustible creativity: instead of “The End,” we read “Never Ending.” Indeed, he never stopped creating. In the late 1970s he set up a laboratory named PLAT (Picto – Luminic – Audio – Tactile) in Madrid, and continued experimenting with video and multimedia equipment. VARIATIONS ON A POMEGRANATE is the only preserved piece from this period. Val del Omar’s “Never Ending” film philosophy found a relevant continuity in the many contemporary artists, musicians, and filmmakers who produced works under his creative influence. For example Eugeni Bonet, an important visual artist, theorist, and curator, met Val del Omar in 1980 and years later made the film THROW YOUR WATCH TO THE WATER (2004), a creative reinterpretation of Val del Omar’s filmic materials. He would also organize the first retrospective of his
work at the Pompidou Museum (Paris) in 1982, as well as the first exhibition entirely devoted to his trajectory in the Reina Sofia Museum (Madrid) in 2010. José Val del Omar VARIATIONS ON A POMEGRANATE / VARIACIONES SOBRE UNA GRANADA (1975, 3 min, 35mm-to-digital) & Eugeni Bonet THROW YOUR WATCH INTO THE WATER / TIRA TU RELOJ AL AGUA (2004, 88 min, digital)

3/18
New York, New York: Anthology Film Archives
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8:30 pm, 32 2nd Ave.
JOSé VAL DEL OMAR PROGRAM 2
See notes for March 17, 7:30 pm.

3/18
San Francisco, California: Other Cinema
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8:30 PM, 992 Valencia St.
MAR18: COX/BALDWIN + A. COPPOLA + TABAR + ROURKE
The first of OC’s three OPTRONICA events! In Crossroads of the Other, Alex Coppola concocts a score--with turntables and sampler--for a jaw-dropping artifact of amateur ethnography (Trinidad ’49). David Cox and Craig Baldwin re-animate a 35mm filmstrip of Jules Verne’s 20,000 Leagues under the Sea, with text-to-vox FX and ChromaDepth stereoscopy. Baldwin doubles back to double-project his Crazed Crystals over Cyrus Tabar’s cracked~abstrakt track. ALSO: Jeremy Rourke’s smashing live-performance Kitchen Tintinnabulation, Bruce Haack oscillating Mr. Rogers, and Vicki (PLU) Bennett’s Citation City. PLUS DJ Spooky’s Memory Palace (with Michael Niemeyer for the Internet Archive), Quintron’s Drum Buddy, and free series-launch champagne!*$8.88

SUNDAY, MARCH 19, 2017

3/19
New York, New York 10002: Light Industry
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7pm, 99 Bowery
LIGHT INDUSTRY AT BRIDGET DONAHUE: CARBON LIFE
Curated by Mary Helena Clark. Likeness (Prologue: Remnant Branch), Michael Guidetti, 2017, digital projection, 6 mins. JACKSHOES, Dana Michel, 2011, digital projection, 6 mins. Elegy, Joe Gibbons, 1991, digital projection, 11 mins. Portrait of Evan Parker (Silver/Gold), Neil Henderson, 2010, digital projection, 11 mins. Mobile Men, Apichatpong Weerasethakul, 2008, digital projection, 4 mins. When I Was a Monster, Anne McGuire, 1996, digital projection, 6 mins. Delphi Falls (excerpt), Mary Helena Clark, 2017, digital projection, 9 mins. Lightning, Paul and Marlene Kos, 1975, digital projection, 2 mins.

3/19
New York, New York: Anthology Film Archives
http://hi-beam.us9.list-manage1.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=0b93ae2cea&e=4e65756555
6:00 pm, 32 2nd Ave.
JOSé VAL DEL OMAR PROGRAM 3
See notes for March 18th, 6:00 pm.

3/19
New York, New York: Anthology Film Archives
http://hi-beam.us9.list-manage2.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=2e943cc3d6&e=4e65756555
8:30 pm, 32 2nd Ave.
JOSé VAL DEL OMAR PROGRAM 1
See notes for March 16th, 7:30 pm.
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