[Frameworks] This week [July 7 - 15, 2018] in avant garde cinema
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This week [July 7 - 15, 2018] in avant garde cinema
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Negative Space: Films of Anouk De Clercq <> [July 11, Portland, Oregon]
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Canyon Cinema At 50: Decodings / Continuum <> [July 14, Los Angeles, California]
NEW CALLS FOR ENTRIES:
Patricia Mellencamp "Save the Archives" Benefit Screening (Milwaukee, WI, USA; Deadline: August 10, 2018)
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Northampton Film Festival (Northampton; Deadline: August 31, 2018)
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DEADLINES APPROACHING:
Patricia Mellencamp "Save the Archives" Benefit Screening (Milwaukee, WI, USA; Deadline: August 10, 2018)
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Events are sorted alphabetically BY CITY within each DATE.
This week's programs (summary):
* Programme Mouvement/Movement Icn18 <> [July 7, Paris, France]
* Programme Mouvement/Movement Icn18 <> [July 7, Paris, France]
* Zackary Drucker: Hard To Look At <> [July 8, Los Angeles, California]
* Shapeshifters Cinema Presents Natalie Tsui <> [July 8, Oakland]
* Yes: Rachael Guma / Grace Sloan <>
[July 9, Brooklyn, New York]
* Jewel's Catch One <> [July 9, Los Angeles, California]
* Babette Mangolte's the Sky On Location <> [July 10, Brooklyn, NY]
* The Dark Side of Tomorrow <> [July 11, Los Angeles, California]
* Negative Space: Films of Anouk De Clercq <> [July 11, Portland, Oregon]
* 1968: Actions and Reactions (Visions of Possibilities, Part 4) <> [July 12, Los Angeles, California]
* Hustler White <> [July 12, Los Angeles, California]
* Canyon Cinema At 50: Studies In Natural Magic / Associations <> [July 13, Los Angeles, California]
* Escandalos Angeles At Club Scum <> [July 13, Los Angeles, California]
* Trans Film: Tranimation! <> [July 13, New York, NY]
* Canyon Cinema At 50: Decodings / Continuum <> [July 14, Los Angeles, California]
* Fred Halsted Retrospective <> [July 14, Los Angeles, California]
* Trans Film: Unearthed <> [July 14, New York, NY]
* Dream Reconstructions, By Miklos ErdéLy <> [July 15, Los Angeles, California]
* Deliver <> [July 15, New York, NY]
SATURDAY, JULY 7, 2018
7/7
Paris, France: Videodrone
10:30, 49 Cours Julien
PROGRAMME MOUVEMENT/MOVEMENT ICN18
Je suis un garçon /Boris du Boullay /France, Je suis une fille /Boris du Boullay /France, We love me /Naween Noppakun /Thaïlande, Train à très grande vitesse /Yves-Marie Mahé /France poble /Albert Bayona /Espagne, Ut Fuga Salutem /Gabin Cortez Chance /États-Unis, 7FF on¢idia /Ж /Brésil, Eyes in the Sky /Frédérick Belzile /Canada, Dailies from Dumpland Parts 1 & 2 /M. Woods /États-Unis, Plant Dreaming Deep /Charlotte Clermont & Émilie Payeur /Canada
7/7
Paris, France: Videodrone
8:30, 49 Cours Julien
PROGRAMME MOUVEMENT/MOVEMENT ICN18
8 films 7 pays - 65' prix libre. Vortex /Alexandre Alagôa /Portugal, Michael Lyons /Michael Lyons /Japon, The Garden of Delight /Michael Fleming /Pays-bas, Je vous trouve tribaux /Maxime Hot /Équateur, ACOPP hard compressed 05032018 s.i.l. version /Volker Krein /France, Last Will and Testament /Gregg Biermann /États-Unis, Seance /Mark Street /États-Unis, Wishful Thinking /Allan Brown /Canada
SUNDAY, JULY 8, 2018
7/8
Los Angeles, California: Dirty Looks
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3PM, REDCAT, 631 W 2nd St
ZACKARY DRUCKER: HARD TO LOOK AT
The first-ever survey of favorite and rare short films spanning twelve years in the career of groundbreaking artist Zackary Drucker, including performance documentation. Post-screening conversation with Drucker and USC Professor in Art and Design and Vice Dean of Critical Studies, Amelia Jones, followed by a reception in the REDCAT Lounge. Zackary Drucker is a human being, photographer, filmmaker, performance artist, and producer of the award-winning television show, TRANSPARENT. REDCAT consistently presents the work of queer artists through programs including Outfest Platinum and their own New Original Works (NOW) Festival. Zackary Drucker, Queer Factor, digital video, 04:51, 2006 Zackary Drucker, FISH: A Matrilineage of Cunty White-Woman Realness, digital video, 01:58, 2008 Zackary Drucker with Van Barnes, Mariah Garnett, and A.L. Steiner, You Will Never Be a Woman. You Must Live the Rest of Your Days Entirely As a Man and You Will Only Grow More Masculine With Every Passing Year. There is No Way Out., digital video, 08:44, 2008 Zackary Drucker and Rhys Ernst, Two Trans in Bed, digital video, 02:57, 2008 Zackary Drucker and Rhys Ernst, Go Trans!, digital video, 02:14, 2009 Zackary Drucker, Wu Tsang, Mariana Marroquin, and Rhys Ernst, P.I.G., live performance, 05:32, 2009 Zackary Drucker, Performance Clown, digital video and live performance, 06:40, 2010 Zackary Drucker with Flawless Sabrina, At Least You Know You Exist, 16mm film transferred to digital video, 15:51, 2011 Zackary Drucker, Southern for Pussy, digital video, 04:39, 2015 Zackary Drucker, Unison, digital video, 07:42, 2017 Total Running Time: Approximately 65 minutes + post screening conversation Curated by Darin Klein $15
7/8
Oakland: Shapeshifters Cinema
http://shapeshifterscinema.com/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=780ad8fca0&e=f36020cad0>
7:30-10PM, Temescal Art Center, 511 48th St. Oakland, CA
SHAPESHIFTERS CINEMA PRESENTS NATALIE TSUI
Natalie Tsui is a queer media artist and filmmaker living and working in Oakland, California. Her work explores the connection between visual culture, collective memory, and personal narrative. Tsui will be presenting a program of four new works that investigate and attempt to erode modes of cinematic perception and identification through the use of camera feedback loops, multiple projections, found footage collage, and live image manipulation. For this performance, Tsui will be accompanied by musician/composer Megan Low. The program will include excerpts from "ANTITEXT", a series in which 16mm captioned educational films are reconstituted as found poems; "images of rapture", a site specific multi-camera, multi-projector improvised feedback loop projection set revolving around the concept of work; and "casual encounter", a 16mm and digital projection piece exploring queer desire in Craigslist’s now defunct Casual Encounters (RIP). The evening will conclude with "entropy loop #2", the second iteration of a film destruction ritual as an invocation for collective release. (Note: "entropy loop #2" will involve the burning of film and may be unpleasant for those who are sensitive to scents and fumes. Limited masks will be available, bring your own mask.)
MONDAY, JULY 9, 2018
7/9
Brooklyn, New York: Microscope Gallery
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7.30pm, 1329 Willoughby Avenue, #2B
YES: RACHAEL GUMA / GRACE SLOAN
A screening night of Super 8mm and 16mm films by Rachael Guma and Grace Sloan as part of our emerging artists series YES, including several premieres, works in progress, and fresh-from-the-lab film prints by the two New York-based artists. A champion of small gauge film and sound experimentation, Rachael Guma makes works including stop motion animations, diaristic and personal observations, experimental narratives, and film performances where the visuals and sound are expanded through the use of mirrors, filters, and other objects and hybrid tools/instruments she has devised. Themes of the works in the program include the poetry of William Blake, ritual and dance, and celestial bodies and occurrences. Grace Sloan comments on popular culture through the use of a variety of found films, ranging from holiday children’s programs to adult films, to create compositions that sabotage the original purpose or meaning. Sloan heightens the sense of transience of the film medium by often choosing as her subjects people and places that no longer exist. The title of her first film “Tease” — a hand-processed found footage film treated with bleach, dye, and nail polish to obscure the underlying imagery — may describe by extension all of her works to date in that they create a tension between showing and not showing, whether through stuttering of the frame, painting and scratching on film, or other manipulations. Q&A with the artists follows. 1329 Willoughby Avenue, #2B. Full program & artist bios at www.microscopegallery.com <http://www.microscopegallery.com> . tel:347.925.1433, info at microscopegallery.com <mailto:info at microscopegallery.com> . Admission $8, Student & Members $6. Nearest Subway: Jefferson St L (exit Starr Street). Please note our new temporary entrance, which is the first door before the construction if approaching from Wyckoff.
7/9
Los Angeles, California: Dirty Looks
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9PM, Union Nightclub (formerly Jewel’s Catch One), 4067 W Pico Blvd
JEWEL'S CATCH ONE
Jewel’s Catch One was first club exclusively for African-American gay and lesbian people in Los Angeles. JEWEL'S CATCH ONE documentary states that it is the “oldest Black owned disco in America and establishes the legacy of businesswoman, activist, and healer, Jewel Thais- Williams, who stood up against hate and discrimination for 42 years.” Jewel’s held its last event in 2015. This event honors Jewel’s history as well as contemporary queer black life in Los Angeles through the works of video/film artist Cole Jupiter James and artist/musician Elliot Reed with travisd and Kayla Tange. James will present Manchego and Posture in Preparation that explore the concepts of race, gender and class through video and language. Each video navigates through the lens of internal dialog, expressive imagery, or movements that reverberate the nuances of the lived experience as encountered by a Queer Person of Color; brief articulations of a practice some call “self care” but are actually a survival and coping mechanism for living with oppression. Curated by Raquel Gutiérrez + Suzy Halajian $5 suggested
TUESDAY, JULY 10, 2018
7/10
Brooklyn, NY: Light Industry
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7:30 PM EDT, 155 Freeman Street
BABETTE MANGOLTE'S THE SKY ON LOCATION
Introduced by Alex Klein. The Sky on Location, Babette Mangolte, 1982, 16mm, 78 mins. The landscape is not seen in its postcardish grandeur as captured in the photographs of Ansel Adams, nor through its shapes as in a Cézanne or Constable painting, but rather the film captures the mood of the landscape as in a Turner painting. The film attempts to construct geography of the land from North to South, East to West and season-to-season through colors instead of maps.
WEDNESDAY, JULY 11, 2018
7/11
Los Angeles, California: Dirty Looks
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7:30PM, The Egyptian Theater, 6712 Hollywood Blvd
THE DARK SIDE OF TOMORROW
Peeters and Jacques Deerson’s examination of the illicit affair between two suburban housewives is a powerful examination of lesbian lust and repression at the height of the sexual revolution. The independent film scene of the late 1960s and early 1970s gave filmmakers unprecedented opportunities to make meaningful and personal low budget productions. However, marketing many such films was difficult, especially if they involved subject matter that was unappealing to a wide audience. As such, like many other would-be arthouse films of the era, DARK SIDE was packaged as an exploitation film and eventually retitled by exploitation film trailblazer, Harry Novak, to the more lurid sounding JUST THE TWO OF US. However, when viewed without the expectations of salacious sex scenes or other cheap thrills, DARK SIDE is a rather bold and earnest look at how middle and suburban America explored their senses of sexual selves in the era of free love. As such, situating the film in an arthouse setting presents in it a way which remains more true to its original intentions and, in a way, refocuses the viewer’s attention on the then (and still) radical depiction of forbidden love. The Egyptian Theater is a historic movie palace originally built in 1922, when it hosted the first-ever Hollywood premier. The theater has showcased works by the LGBTQ community for many years through its partnership with Outfest Fusion. Barbara Peters, The Dark Side of Tomorrow (aka Just The Two Of Us), 35mm on 4k DCP, 84min., 1970 Curated by Joe Rubin Co-presented by Etheria Film Night and Cinematic Void
7/11
Portland, Oregon: Cinema Project
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8pm, OMSI 1945 SE Water
NEGATIVE SPACE: FILMS OF ANOUK DE CLERCQ
Belgian artist and researcher Anouk De Clercq brings a selection of her digital moving-image work—often minimal and accompanied by precise electronic soundtracks—to one of the biggest screens in Portland. Inspired by music, literature, and architecture, the artist embraces a variety of digital animation techniques, from the flat and sparse scape in Me+ (2004) that features simply a small white plus-sign that eventually multiplies dancing across the black screen, to the stripped and animated architectural scans of various London locales in Thing (2013), produced using the LiDAR technique, the same laser mapping technology that recently revealed a large complex of ancient Mayan ruins. But while the tech ranges from graphically simple to cutting-edge, the imagery remains minimal and the color spectrum is limited to black-and-white, allowing the artist to more deeply explore negative space. It’s something like feeling the vastness of space, but to simply imagine emptiness is misleading. As De Clercq says, “After all, digital animation—my prime tool—invites you to ‘build’: the starting point is always an empty space that has to be filled.” In Building (2003) as in Thing, we wander through semi-futurist structures from an unidentified point of view, but how our perception of those two spaces is constructed differs quite literally through the play of light and dark. On Building, De Clercq explains “I treated the building as a dark body and had this idea of the light coming into the building, and using that light as a guide.” Constructing these spaces also requires a certain amount of information be stripped away, a simultaneous visioning and excavation of the future, or perhaps “in between the visible and the imaginary.”
THURSDAY, JULY 12, 2018
7/12
Los Angeles, California: Filmforum
http://www.lafilmforum.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=fffb4aa8f1&e=f36020cad0>
7:00 pm, MOCA Grand Ave Ahmanson Theatre, 250 S. Grand Ave.
1968: ACTIONS AND REACTIONS (VISIONS OF POSSIBILITIES, PART 4)
1968: Actions and Reactions includes several short films, including four from Newsreel following draft resisters in Boston and the disruption of the Miss America pageant of 1968; Tom Palazzolo’s CAMPAIGN, an impressionistic view of the clashes during the 1968 Democratic National Convention; and Madeleine Anderson’s moving document, I AM SOMEBODY, of a strike by black female hospital workers in Charleston SC. Curated by Adam Hyman. Tickets: $15 general; $10 for seniors; $8 for students with ID; free for Filmforum and MOCA members. Available in advance from Brown Paper Tickets at https://www.brownpapertickets.com/event/3504027 or at the door.
7/12
Los Angeles, California: Dirty Looks
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8PM, Studs Theater, 7734 Santa Monica Blvd
HUSTLER WHITE
An incendiary romp directed by queercore festival darling Bruce La Bruce and fetish photographer Rick Castro, HUSTLER WHITE is an unlikely West Hollywood rehash of SUNSET BOULEVARD, only that strip (and tone) is lowered to Santa Monica, where the hustlers and johns butt heads with the seedy and degenerate local milieu. Starring Madonna’s sultry Justify My Love(r) Tony Ward, co-director La Bruce (in a nod to Kenneth Anger) the film features a coterie of Santa Monica Boulevard regulars and luminaries (like Vaginal Davis, Glen Meadmore, Ron Athey and Divinity Fudge). HUSTLER WHITE is a surprisingly romantic take on lust, exploitation and obsession, with a verité eye trained to the infamous streetwalker strip that once stretched through 1990s West Hollywood. Screening at the historic Studs Theatre in West Hollywood, this location opened in 1940 as the Monica theater and became the Pussycat Theater in 1970, the flagship for a 50-location chain of adult theaters clustered around Southern California. Peter Alilunas, professor of media studies at University of Oregon has noted this location is “one of the most important spaces in North America [in the history of adult film] … It’s Smithsonian-level history when it comes to adult theaters.” Bruce La Bruce & Rick Castro, Hustler White, 16mm on HD video, 79 min, 1996 Curated by Coaxial $15
FRIDAY, JULY 13, 2018
7/13
Los Angeles, California: Filmforum
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7:30 pm, UCLA Film & Television Archive, Billy Wilder Theatre, Hammer Museum, 10899 Wilshire Blvd.,
CANYON CINEMA AT 50: STUDIES IN NATURAL MAGIC / ASSOCIATIONS
In-person: David Dinnell, curator Antonella Bonfanti, director of Canyon Cinema Los Angeles Filmforum members receive free admission at the box office! Bay Area-based non-profit film and media arts organization Canyon Cinema has, for 50 years, served as a bastion of “artist-made moving image work” not just as an archive, but as a distributor and champion of experimental, avant-garde, alternative and otherwise underserviced filmmaking voices. Curated by David Dinnell, visiting faculty at California Institute of the Arts and former Program Director at the Ann Arbor Film Festival, UCLA Film & Television Archive is proud to serve as the Los Angeles home for four 16mm programs that draw exclusively from Canyon’s vast collection. Deriving titles from lesser-known Canyon films, these programs span seven decades, and include work by Saul Levine, Barbara Hammer, Curt McDowell and Canyon founders Bruce Baillie and Chick Strand, which together offer a vital roadmap for artist-made cinema.
7/13
Los Angeles, California: Dirty Looks
dirtylooksla.org <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=ed595ba50e&e=f36020cad0>
9PM, Club Chico, 2915 W Beverly Blvd, Montebello
ESCANDALOS ANGELES AT CLUB SCUM
Operating as an evening of homage to Cyclona, the barrios that birthed her, and memory this program contemplates homeboy aesthetics, underground queer Latinx nightlife, and takes back the image from the exploitative media. Featuring Veteranas Y Rucas’ digital archivist Guadalupe Rosales alongside a program that honors East LA performance artist Cyclona through a reinterpretation of some of Cyclona’s work by local artists Sebastian Hernández and Gabriela Ruiz. In collaboration with East LA's filthiest dance party, sCUM (organized by Rudy Bleu and Hex Ray) and Montebello's legendary Club Chico. Curated by Raquel Gutiérre
7/13
New York, NY: Anthology Film Archives
http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=65764a4a47&e=f36020cad0>
7:15 PM, 32 Second Avenue
TRANS FILM: TRANIMATION!
SELECT FILMMAKERS IN PERSON! This program highlights contemporary, visionary experimental animation with a gender transgressive frame and flair. HEY, FOX follows a group of fox/people as they perform rituals on the wishbones of chickens. At the intersection of substance abuse, trauma, and environmental issues is HAPPY TOILET, presented as a campy queer musical number, of course. Step back into 1990s online chat rooms with JIM and snuggle up with floppy disks in the dark. FRAGMENTS uses marmalade and puppetry in an attempt to unify the fragment with the whole, and REVISE/DISGUISE uses nightmare and fantasy, necessity and desire to tell a story of "post-embodiment." ITEM FALLS depicts a surreal reality television audition in which the contestants enter a gaming system, "become Second Life avatars, promote themselves, and nurse stunt chickens in their attempt to move from first level to 'level center.'" Tessa Siddle HEY, FOX (2009, 12 min, digital) Lark VCR HAPPY TOILET (2013, 3 min, digital) Sam Gurry JIM (2017, 8 min, digital) Clement Goldberg FRAGMENTS (2014, 4 min, digital) Madsen Minax REVISE/DISGUISE (2013, 4 min, digital) Ryan Trecartin ITEM FALLS (2013, 25 min, digital) Total running time: ca. 60 min.
SATURDAY, JULY 14, 2018
7/14
Los Angeles, California: Filmforum
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7:30 pm, UCLA Film & Television Archive, Billy Wilder Theatre, Hammer Museum, 10899 Wilshire Blvd.,
CANYON CINEMA AT 50: DECODINGS / CONTINUUM
Program Four: Continuum (16mm, b/w and color, 85 min.) Program Four is named for Dominic Angerame’s silent and exquisitely filmed black and white 1987 city portrait. The program also features Bay Area filmmaker Karen Holmes’ underappreciated late 1970s landscape and performance film, Saving the Proof; Los Angeles effects artist and filmmaker Pat O’Neill’s 1973 masterpiece Down Wind; Gunvor Nelson’s My Name is Oona, one of the canonical works of the American avant-garde; and two works from the mid-2000s: Tomonari Nishikawa’s frenetic single-frame city portrait, Market Street, and animator Janie Geiser’s Terrace 49. The program is bookended with Valentin De Las Sierras and Mujer De Milfuegos, films by Canyon Cinema founders Bruce Baillie and Chick Strand that continue to resonate as vital, adventurous film art.
7/14
Los Angeles, California: Dirty Looks
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4PM, Eagle LA, 4219 Santa Monica Blvd
FRED HALSTED RETROSPECTIVE
An autobiographical trip through the sexual underworld of Los Angeles in the early 1970s, Fred Halsted’s L.A. PLAYS ITSELF is perhaps the crowning achievement of queer hardcore. The film follows Halsted himself, roaming and fucking his way across city. At once languidly pensive and joltingly violent, the film combines graphic sex, atmospheric exposition, and scenes of intense BDSM. Early screenings sparked protestors from the right and the left, and inspired Salvador Dali to proclaim, “new information for me.“ Accompanied by the rarely screened SEX GARAGE (shot in six hours before the release of L.A. Plays Itself), SEX TOOL, and A NIGHT AT HALSTED'S, this screening will take place at Eagle LA, a location with deep connections to the city’s leather and BDSM scene. Fred Halsted was an American gay pornographic film director, actor, escort, publisher, and sex club owner. His films were the first X Rated acquisitions made by The Museum of Modern Art. Eagle LA’s location has served as a gay bar for 44 years and it’s mission is to uphold the leather, uniform and fetish traditions in Los Angeles. Sex Garage, 35mm on dv, 34 minutes, 1972 LA Plays Itself, 16mm on dv, 55min., 1972 Sex Tool, 35mm on dv, 57min., 1975 A Night at Halsted’s, 35mm on dv, 76min., 1982 Curated by Ryan Linkof $6 after 9PM
7/14
New York, NY: Anthology Film Archives
http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=1eddec981a&e=f36020cad0>
6:45 PM, 32 Second Avenue
TRANS FILM: UNEARTHED
FRANKIE SYMONDS IN PERSON! GUEST CURATED AND PRESENTED BY DEVIN UTAH These pieces explore personal narrative and reclaim the parameters of video. Experimental world-building occurs through private ritual and shared experience. Geo Wyeth QUARTERED 2013-14, 30 min, digital "In QUARTERED, the artist journeys to rural South Carolina, to the hometown of their ancestor J. Marion Sims, a doctor who performed horrific gynecological experiments on enslaved women. Wyeth blends history and mythology, taking the form of a golden shard of light, a character from a tale told by their mother, to reckon with their own biracial identity and family history." -PELICAN BOMB Frankie Symonds THE GREEN WARDROBE 2017, 44 min, digital A hybrid of psychodrama and essay film that considers a series of recurring dreams that feature a book titled "The Green Wardrobe." Through various attempts at trying to figure out what type of significance a book that only exists in my dream might have for me, as well as its potential to be exploited as a starting point for a personal mythology, ideas are formed then fall apart, revealing more of the same thing that is somehow completely different.
SUNDAY, JULY 15, 2018
7/15
Los Angeles, California: Filmforum
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7:30 pm, Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd.
DREAM RECONSTRUCTIONS, BY MIKLOS ERDéLY
In collaboration with the Wende Museum and the Getty Research Institute Miklós Erdély was a Hungarian architect, artist, writer, and filmmaker who in the 1960s-1980s became a key figure in Budapest's neo-avant-garde artistic circles. When the renowned Balázs Béla Studio created an opportunity for non-professional filmmakers to make films, Erdély was among the artists who seized it. Erdély's Dream Reconstructions attempts to represent the unrepresentable -- in three different sequences, we see three individuals trying to reconstruct their dreams. The film probes the relationship between personal experience and interpersonal communication, mobilizing the tools of cinema and using experimental editing techniques to mimic the workings of the subconscious. The screening of this film coincides with the exhibition Promote, Tolerate, Ban: Art and Culture in Cold War Hungary, co-presented by the Wende Museum and the Getty Research Institute and on view at the Wende Museum until August 26. For more information on the exhibition and other events accompanying it, visit www.wendemuseum.org <http://www.wendemuseum.org> Tickets: $10 general; $6 for students/seniors; free for Filmforum members. Available in advance from Brown Paper Tickets at https://erdely.bpt.me or at the door.
7/15
New York, NY: Anthology Film Archives
http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=c34ebae495&e=f36020cad0>
4:30 PM, 32 Second Avenue
DELIVER
by Jennifer Montgomery. "DELIVER is Montgomery's all-female reworking of John Boorman's classic 1972 film DELIVERANCE (based on James Dickey's novel). More than simply a gender reversal, however, the film raises complicated and provocative questions about hegemonic structures of gender and issues of female homosocial violence. Moreover, by casting well-known experimental filmmakers Peggy Ahwesh, Jackie Goss, Su Friedrich, Meredith Root, and Montgomery herself as semi-fictional versions of themselves, DELIVER also examines the often difficult position of feminist experimental filmmaking within the academic art world." -UC SANTA CRUZ FILM AND DIGITAL MEDIA
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