[Frameworks] This week [April 27 - May 5, 2019] in avant garde cinema
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This week [April 27 - May 5, 2019] in avant garde cinema
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Laida Lertxundi: Landscape Plus <> [April 28, Brooklyn, NY United States]
NEW CALLS FOR ENTRIES:
Engauge Experimental Film Festival (Seattle, WA USA; Deadline: July 01, 2019)
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DEADLINES APPROACHING:
25 FPS Festival (Zagreb, Croatia; Deadline: May 31, 2019)
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Paris Festival for Different and Experimental Cinemas (Paris, France; Deadline: May 20, 2019)
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Events are sorted alphabetically BY CITY within each DATE.
This week's programs (summary):
* Instant Failure: Polaroid'S Polavision, 1977-1980 <> [April 27, Brooklyn, NY United States]
* New Works Salon L <> [April 27, Los Angeles, California]
* Celebrating the Screaming Queens Who Started It All <> [April 27, New York, NY]
* Sprinkle/Stephens' <> "Water Makes Us Wet" [April 27, San Francisco]
* Laida Lertxundi: Landscape Plus <> [April 28, Brooklyn, NY United States]
* Short Films By Richard P. Rogers - Introduction By Susan Meiselas <> [April 28, Cambridge, Massachusetts]
* Unraveling Collective Forms: Films By Arshia Haq, Jeannette Ehlers, Sky Hopinka, and Cecilia vicuñA <> [April 28, Los Angeles, California]
* Garrick Duckler <> [April 28, Portland, Oregon]
* James Benning: Two Films <> [April 29, Los Angeles, CA United States]
* Jonas Mekas Tribute Screenings: In Between: 1964-68 <> [April 30, New York, NY]
* An Evening of Stellar Award-Winning Films From the Black Maria Film Festival's 2019 Collection. <> [May 1, Hoboken, NJ]
* Re-Transmissions. the Voice Is the Message. <> [May 2, Brooklyn, NY United States]
* Los Angeles Filmforum At Moca Presents Kevin Jerome Everson <> [May 2, Los Angeles, California]
* Fail To Appear <> [May 3, Brooklyn, NY United States]
* Noflash video Show 2019 <> [May 3, New Brunswick, New Jersey]
* Forster's 8-Track Mind + video Nuggets <> [May 4, San Francisco]
* An Evening With Sky Hopinka <> [May 5, Cambridge, Massachusetts]
* Kevin Jerome Everson: More New Films <> [May 5, Los Angeles, California]
* Video Work Curated By Hannah Piper Burns <> [May 5, Portland, Oregon]
SATURDAY, APRIL 27, 2019
4/27
Brooklyn, NY United States: Light Industry
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7:00 PM, 155 Freeman St
INSTANT FAILURE: POLAROID'S POLAVISION, 1977-1980
A lecture by Erika Balsom In 1977, at the dawn of the home video era, the Polaroid Corporation introduced Polavision, a proprietary film format and apparatus promising instant development and playback. Amateur filmmakers could shoot 150 seconds of silent color film on a cartridge and watch it only 90 seconds later on a small rear-projection screen. The system was a devastating commercial failure and caused major financial losses for the corporation before its discontinuation in 1980, but in its brief life was used by prominent figures such as Stan Brakhage, Charles and Ray Eames, Robert Gardner, Morgan Fisher, and Andy Warhol. Polavision was a social medium avant la lettre in that it was a system grounded in prosumer activity, relationality, and feedback rather than in the quality of the films it yielded. And yet, this emphasis ran up against significant limitations: Polavision produced unique cassettes unable to be copied or shown on other film systems, thus severely circumscribing its social ambit and localizing it within a private realm that Polaroid marketing clearly delineated as a suburban idyll of reproductive heterosexuality. Artists, meanwhile, would turn to the system for very different uses. This illustrated talk will recount the curious episode of Polavision’s instant movies, finding in it a way of questioning the idea of the medium of film as a unified object. - EB Erika Balsom is a senior lecturer in Film Studies and Liberal Arts at King’s College London and the author of After Uniqueness: A History of Film and Video Art in Circulation (2017) and Exhibiting Cinema in Contemporary Art (2013); the co-editor of Documentary Across Disciplines (2016); and a frequent contributor to magazines such as Artforum, frieze, and Sight & Sound. Tickets - Pay-what-you-wish, available at door ($8 suggested donation). Please note: seating is limited. First-come, first-served. Box office opens at 6:30pm.
4/27
Los Angeles, California: Echo Park Film Center
http://www.echoparkfilmcenter.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=6e7822ae2d&e=f36020cad0>
8 pm, 1200 N. Alvarado St
NEW WORKS SALON L
New Works Salons series is a casual forum for the presentation and discussion of new works in film, video, sound, and performance, with local and visiting artists often in- person to introduce their work. This, the fiftieth program in the series, will feature work by John Cannizzaro, Edgar Jorge, Mounir Souss, and Anaïs Hinojosa Téllez. Shadow speaks, Earth speaks. An acceptance of shadow, a prayer. A mirror, the self inverted. Remembering the divinity of the spine, Mother within the body. Guided with gratitude by dancers Maya Deren and Martha Graham, Anaïs Hinojosa Téllez brings together three rolls of super 8mm in a diagnosis of spiritual healing. Black and white roll eco-processed using rosemary, a medicinal herb used for generations by the women of the Téllez family. Created thanks to EPFC’s Youth Alumni Fellowship. Mounir Souss will show several works, including soul, blood, soil; spinning; and a rough cut of aveugle soumission: “In 2020, the Muslim Ban has implemented stricter laws: all individuals of Arab origin or Islamic faith must leave the US and return to their countries of origin. The film depicts a 25-year-old student Luay Al-Derazi who, upon hearing the news, struggles to understand his contested place amidst the cruelty of the American landscape and its new inhabitants.” Mounir Souss is a Moroccan filmmaker and multimedia artist whose work considers the intergenerational effects of colonial rule and imperialism on the psyche. Furthermore, they evoke the interiority of the stateless body while questioning what it means to be ejected from history, specifically from stolen land. Drawing from afrofuturism, Sufism and Kabbalah; Souss considers the complexity among their Arab, Jewish and Afrikan identity. Edgar Jorge will show his new video Babelisms: “Google dares to translate what it doesn’t understand... Much like I do. With this realization, I set out to learn its language and teach it mine.” We’ll also have new work by John Cannizzaro, and possibly one or two other surprise treats!
4/27
New York, NY: Anthology Film Archives
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7:30 PM, 32 Second Avenue
CELEBRATING THE SCREAMING QUEENS WHO STARTED IT ALL
On the occasion of the 50th anniversary celebration of the Stonewall Uprising, this program sheds light on those who have been left out of many LGBTQ liberation narratives. HAPPY BIRTHDAY, MARSHA! reimagines the life of Marsha "Pay It No Mind" Johnson in the hours before she ignited the 1969 Stonewall Riots, while THE SCREAMING QUEENS: THE RIOT AT COMPTON'S CAFETERIA reveals pre-Stonewall activism by focusing on a 1966 event that represents a pivotal but still-overlooked moment in transgender history. SCREAMING QUEENS explores the connection between transgender activism and the larger social upheavals affecting the U.S. in the 1960s, and includes reflective comments from the Compton's Cafeteria subjects who bravely ushered in a controversial revolution that continues today. Tourmaline & Sasha Wortzel HAPPY BIRTHDAY, MARSHA! (2018, 15 min, digital) & Victor Silverman & Susan Stryker SCREAMING QUEENS: THE RIOT AT COMPTON'S CAFETERIA (2005, 57 min, digital)
4/27
San Francisco: Other Cinema
http://www.othercinema.com/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=b9ea93c3d8&e=f36020cad0>
8pm, 992 Valencia Street
SPRINKLE/STEPHENS' "WATER MAKES US WET"
With a poetic blend of curiosity, humor, sensuality, and concern (and narration by Sandy Stone!), this feature work, in its Bay Area theatrical premiere, chronicles the pleasures and politics of H2O from an ecosexual perspective. We travel with Annie, a former sex worker, Beth, a professor, and their dog Butch in their E.A.R.T.H. Lab mobile unit, as they explore the larger role of water in all of our lives. Ecosexuality shifts the metaphor Earth as Mother to Earth as Lover, creating a more empathetic and reciprocal relationship with the natural world. Along the way, Annie and Beth interact with a diverse range of folks--scholars, biologists, treatment-plant workers, and even performance artists—finally climaxing in a shocking event that reaffirms the power of water, life, and love.*$9
SUNDAY, APRIL 28, 2019
4/28
Brooklyn, NY United States: Light Industry
http://www.lightindustry.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=3d88020a99&e=f36020cad0>
4:00 PM, 155 Freeman St
LAIDA LERTXUNDI: LANDSCAPE PLUS
Join us for the launch of Landscape Plus, a new monograph published by fluent and Mousse on the work of Laida Lertxundi, featuring essays by Lertxundi, Alejandro Alonso Díaz, Erika Balsom, and Anna Manubens. We'll be hanging out at the space from 4-6pm, and screening Lertxundi's recent film Words, Planets at 5pm. Come have a beer and say hello. “Laida Lertxundi’s 16mm films revel in the kind of emphatic localism that perhaps only an outsider can capture. The Bilbao-born artist has lived in Los Angeles for a decade, filling her films with images of the sun-bleached concrete, citrus trees, cacti, and airy interiors of Southern California. But frequently, as in Cry When It Happens (2010), this specificity is offset by periodic departures into the uncertainty of the sky. Lertxundi returns again and again to visions of drifting clouds, that profoundly cinematic motif that interrupts solidity and permanence in favor of capricious transformation. Whereas the landscape offers regional detail and tangible ground, a frame within which to place experience, the sky is a dreamy anywhere that abstracts and loosens, that resists circumscription. In this charged play of earth and air, one finds an oblique hint of Lertxundi’s larger concerns: her films are poised between the rigour of control and the fancies of imaginative suggestion, between the stability of structure and the mutability of affect. Lertxundi’s films leave one shaken by a delicate power of form and feeling that is all the more forceful given their brevity, always under 15 minutes. Yet they are recalcitrant, too, yielding little in the way of easily articulated meaning. To call them cryptic would be to wrongly presume that there is a buried secret to be revealed through decoding; it would be better to say that they insist on a poetics founded in the dense opacity of repeated motifs and in tiny moments that court narrative without ever creating it.” - Erika Balsom Words, Planets, Laida Lertxundi, 2018, 16mm, 11 mins This film applies the six principles for composition delineated in “Opinions on Painting by the Monk of the Green Pumpkin,” written by the seventeenth-century Chinese painter Shi Tao, as referenced in Raúl Ruíz’s essay “For a Shamanic Cinema” (for example, “draw attention to a scene emerging from a static background” or “add scattered dynamism to immobility”). The film is composed of scenes with non-actors, and texts by R.D. Laing and Lucy Lippard. FREE
4/28
Cambridge, Massachusetts: Harvard Film Archive
http://hcl.harvard.edu/hfa <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=8ec18afa4b&e=f36020cad0>
7pm, 24 Quincy Street
SHORT FILMS BY RICHARD P. ROGERS - INTRODUCTION BY SUSAN MEISELAS
Quarry This portrait of an abandoned quarry in Quincy, Massachusetts captures the striking natural beauty of the site as it explores the social rites of the young people who gather along its rugged shores to enjoy leisure in what was once a place of toil. US 1970, 16mm, b/w, 13 min Elephants: Fragments in an Argument A self-portrait of the filmmaker at twenty-nine, this provocative collage of photographs, street scenes, and interviews with family and friends seeks to prove that "one’s consciousness is the result of one’s relationship to power and not, as many believe, vice-versa." US 1973, 16mm, color, 25 min 226-1690 Rogers created this "minimalist soap opera" out of messages left on his telephone answering machine over the course of an entire year. Together with the accompanying visuals of scenes shot from the windows of the filmmaker’s New York loft, the recordings provide an amusing account of life caught between the public and the private; we see weddings take place in the church across the street, passersby struggling through the snow on the sidewalk, gradually becoming submerged in the meditative rhythms of Rogers’ interior world. US 1984, 16mm, color, 23 min
4/28
Los Angeles, California: Filmforum
http://www.lafilmforum.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=a1168c1589&e=f36020cad0>
7:30 pm, Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd.
UNRAVELING COLLECTIVE FORMS: FILMS BY ARSHIA HAQ, JEANNETTE EHLERS, SKY HOPINKA, AND CECILIA VICUñA
Filmmaker Jeannette Ehlers, and exhibition curator Daniela Lieja Quintanar in person! In conjunction with the exhibition Unraveling Collective Forms at Los Angeles Contemporary Exhibitions (LACE), Filmforum co-presents digital films by artists Cecilia Vicuña, Jeannette Ehlers, Arshia Haq and Sky Hopinka whose works are on display in the show. The artists approach processes of cultural erasure through visual strategies that document fainting, magnifying the details to revive a death ocean, myths, languages and people’s histories. The diverse strategies that Vicuña, Ehlers, Haq and Hopinka weave on the films are spiritual and rebellious, outside and against Western Aesthetics. Pre-screening reception at LACE, 6522 Hollywood Blvd., from 5:30pm to 6:30pm, just two blocks away from the Egyptian Theater. The exhibition Unraveling Collective Forms runs from April 3 – May 26, 2019, curated by Daniela Lieja Quintanar. For more, see https://welcometolace.org/event/unravelling-collective-forms/ Tickets: $10 general; $6 students (with ID)/seniors; free for Filmforum and LACE Members. Available in advance from Brown Paper Tickets at https://unraveling.bpt.me or at the door.
4/28
Portland, Oregon: Boathouse Microcinema
boathousemicrocinema.com
7:30pm, 822 N River St
GARRICK DUCKLER
Experimental film work and lecture about psychology and therapy by Garrick Duckeler, who is a psychoanalyst first and an artist second.
MONDAY, APRIL 29, 2019
4/29
Los Angeles, CA United States: Redcat
http://www.redcat.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=9d305f4e4c&e=f36020cad0>
8:30 PM, 631 W 2nd St
JAMES BENNING: TWO FILMS
In his prolific career unfolding since the early 1970s, legendary filmmaker and artist James Benning has matched a passionate wanderlust to an exacting formal rigor, mapping out multivalent landscapes. His work is a cinema of attentiveness, of long takes that invite the viewer to look and listen and consider the consonances of space and time, onscreen and off. REDCAT is proud to present the world premiere of two moons (42.5 minutes, 2018), filmed on November 21 and 22, 2018 in Valencia, California. A gibbous and full moon rising. The film will be preceded by L. COHEN (45 minutes, 2017, Grand Prix, Cinéma du réel festival in Paris), filmed on August 21, 2017 near Madras, Oregon. A rather unremarkable farm field on a most remarkable day. Mount Jefferson can be seen 40 miles away. In person: James Benning
TUESDAY, APRIL 30, 2019
4/30
New York, NY: Anthology Film Archives
http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=d66b71cb8f&e=f36020cad0>
7:30 PM, 32 Second Avenue
JONAS MEKAS TRIBUTE SCREENINGS: IN BETWEEN: 1964-68
Filmed 1964-68/edited 1978, 52 min, 16mmShare +Twitter. Preserved by Anthology Film Archives. "The material for this film is footage that didn't find a place in the WALDEN reels. Some of it begins in between LOST, LOST, LOST and WALDEN. It's mostly New York, and some travel footage. The City friends: Richard Foreman, Amy Taubin, Mel Lyman, Peter Beard, David Wise, Andrew Meyer, Salvador Dali, Jerome Hill, David Stone and Barbara Stone, my brother Adolfas filming DOUBLE BARRELLED DETECTIVE STORY, Diane di Prima, Allen Ginsberg, Norman Mailer, Ed Sanders, Gordon Ball, Henry Romney, Jack Smith, Shirley Clarke, Louis Brigante, Jane Holzer, etc. etc." -Jonas Mekas
WEDNESDAY, MAY 1, 2019
5/1
Hoboken, NJ: Black Maria Film Festival
http://www.blackmaria.org <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=3d0b0cb415&e=f36020cad0>
7:00PM, Hoboken Historical Museum, 1301 Hudson St.
AN EVENING OF STELLAR AWARD-WINNING FILMS FROM THE BLACK MARIA FILM FESTIVAL’S 2019 COLLECTION.
In collaboration with the Hoboken Historical Museum, the Black Maria Film Festival continues its series of documentary and theme-based film programs from the Festival collection on Wednesday evenings this spring. Black Maria Executive Director Jane Steuerwald will present each program and lead a discussion with the audience and guest filmmakers. May 1st features an evening of Stellar Award-Winning films from the Black Maria Film Festival’s 2019 touring collection featuring “Woody’s Order” by Seth Kramer, written and performed by Ann Talman, actress, singer, writer, filmmaker, and storyteller. Ms. Talman will be present to discuss the film and lead a Q & A with the audience. Ann Talman made her Broadway debut playing Elizabeth Taylor’s daughter in The Little Foxes. Her other Broadway credits include The House of Blue Leaves, Some Americans Abroad, and The Women. She’s done off-Broadway, regional theatre, film and television. The award-winning documentary Woody’s Order! by Seth Kramer of Ironbound Films, featuring Ms. Talman and her brother Woody, premiered at the Tribeca Film Festival. This special program will be held on Wednesday evening, May 1st, 2019. Doors open at 6:30PM, and the films screen at 7:00PM. A suggested $5 donation at the door includes light refreshments. The Littleman Parking-Independence Garage (Shipyard Lane, at 12th St.) offers 3 hours of free parking with Museum validation. Admission is free to students and teachers. Now in its 38th consecutive year, the Black Maria Film Festival focuses on diverse short films – narrative, experimental, animation, and documentary - including those, which address issues and struggles within contemporary society such as the environment, public health, race and class, family, sustainability, and more. For further information, consult the Hoboken Historical Museum at 201-656-2240, www.hobokenmuseum.org; or contact Black Maria Festival Director Jane Steuerwald, jane at blackmariafilmfestival.org, 201-856-6565. Program information is posted on the Black Maria Film Festival website under the Tour Schedule link: www.blackmariafilmfestival.org.
THURSDAY, MAY 2, 2019
5/2
Brooklyn, NY United States: \
http://www.uniondocs.org <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=371cbfcb96&e=f36020cad0>
7:30 PM, 322 Union Ave
RE-TRANSMISSIONS. THE VOICE IS THE MESSAGE.
Gala Porras-Kim, Whistling and Language Transfiguration, mixed-media project, 2012-ongoing Presentation, 15 min. Whistling and Language Transfiguration is an interdisciplinary project involving the translation of a minority language, Zapotec, and the political and linguistic implications of the language’s deterioration. It includes a vinyl record edition of a translation of Zapotec into whistling, as well as the tools made for its background research. These works represent an effort to maintain the viability of the Zapotec language by pointing out its unique qualities, and contribute to the preservation of a language that was and is the cultural heritage of the Zapotec people. In this project, Porras-Kim examines the ultimate and literal signifier of culture, language, particularly its sounds, and reveals how whistling carries hidden transcripts and be a strategy of dissent. Sky Hopinka, Jáaji Approx, film, 2015 Screening, 7 min. Logging and approximating a relationship between audio recordings of my father and videos gathered of the landscapes we have both separately traversed. The initial distance between the logger and the recordings, of recollections and of songs, new and traditional, narrows while the images become an expanding semblance of filial affect. Jáaji is a near translation for directly addressing a father in the Hočak language. Krista Belle Stewart, Potato Gardens Band, mixed-media project, 2014-ongoing Screening (video excerpt), 10 min. Potato Gardens Band is a performative media work paying homage to the voice of Krista Belle Stewart’ great-grandmother: Terese Kaimetko, singing in Syilx (Okanagan). Kaimetko’s songs were recorded on wax cylinder during the early 1900s by ethnographer James Alexander Teit, who documented Indigenous communities living in British Columbia Interior, Canada. Since 2014,Stewart has used this audio artifact to investigate anthropological uses of media technologies, and underlines their role in archiving and transmitting Indigenous knowledge. Bethan Huws, Singing for the Sea, video, 1993 Screening, 13.23 min. “In the beginning there was the world or earth without us. Then we came and with us came speech. In the end there was the world or earth without us.” Bethan Huws Singing for the Sea is a haunting polyphony of sound and voice, featuring eight Bulgarian women singing at the edge of the North Sea on the unspoilt Northumbrian Coastline. This film was made in relation to The Bistritsa Babi, a multi-generational female vocal ensemble carrying on the traditional dances and polyphonic singing of the Shopluk region of Bulgaria, Europe. Juan Javier Rivera Andía and Peter Snowdon, We are going to Record / We Gaan Opnemen, film, 2013 Screening, 11 min. Men and women wait in silence, immobilized, while a solitary engineer communes with the unseen gods of stereo recording. Outtakes from the recording of a CD of traditional songs and music. Gestures of discomfort and generosity. Protocols for the collision of two cultures. Rachel Berwick, may-por-é, mixed-media project, 1997-ongoing Audio session, 5 min. “In 1799, the German naturalist Alexander Von Humboldt, embarked on a journey through Venezuela to trace the �Orinoco River to its source. During his travels Von Humboldt was said to have acquired a parrot from a Carib Indian tribe which, some days before his arrival, had attacked and eliminated a neighboring tribe, the Maypure’. During the attack, the Carib tribe had taken parrots which the Maypure’ people had kept as pets. Von Humboldt noted that the parrots were speaking words, not in the language of the tribe he was visiting, but in the language of the recently destroyed Maypure’: thus the parrots were the only living ‘speakers’ of the Maypure’ language. They were, in fact the sole conduit through which an entire tribe’s existence could be traced. Von Humboldt phonetically recorded the bird’s vocabulary; these notes constitute the only trace of the lost tribe…” In this project, Berwick trained two Amazon parrots to speak Maypure’. In the installation, the parrots live within a sculptural aviary and are only seen in shadow through its translucent walls. The birds chatter at will, incorporating the language with a multitude of sounds generated by them and their environment.
5/2
Los Angeles, California: Filmforum
http://www.lafilmforum.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=0ee9ec99fc&e=f36020cad0>
7:00 pm, MOCA Grand Avenue, Ahmanson Theater, 250 S. Grand Ave.,
LOS ANGELES FILMFORUM AT MOCA PRESENTS KEVIN JEROME EVERSON
Kevin Jerome Everson is one of the most prolific, important experimental filmmakers currently working. The kind of artist who thinks through the particular problems of cinema by making it, his indefatigable output perfectly fits Manny Farber’s description of “termite” art as having “no sign that the artist has any other object in mind other than eating away the immediate boundaries of his art, and turning these boundaries into conditions of the next achievement.” Everson’s films, by turns light and deeply affective, are never not alive. Because of his near-constant innovation, each new film surprises. Everson’s themes, though clearly identifiable, are never forced; they emerge organically through the course of his work. Among its many achievements, his oeuvre is one of the most significant records of contemporary African American life. Los Angeles Filmforum at MOCA is proud to present a program of recent work by Everson, including many premieres, with the artist in attendance. 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/4193718 or at the door.
FRIDAY, MAY 3, 2019
5/3
Brooklyn, NY United States: UnionDocs
http://www.uniondocs.org <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=050744c810&e=f36020cad0>
7:30 PM, 322 Union Ave
FAIL TO APPEAR
Toronto-based filmmaker Antoine Bourges will be joining us for the Brooklyn premiere of his feature-length film, Fail to Appear. After spending several years in a disadvantaged neighborhood of Vancouver, Bourges became interested in illustrating the experience of a rookie social worker, the system’s many unnavigable twists and turns, and takes viewers on an insightful trip into a bleak, bureaucratic world with heart and humanity. Bourges’ vision of Canadian social institutions and support networks, particularly for those struggling with mental health issues or addiction is one of truth and gravity. Within Bourges’ filmmaking process, he looked at the fundamental inadequacy of these social institutions—not through a feature-length exposé, but by observing the individuals that often bear the brunt of the cost. Pointedly bifurcated to follow each character individually, the film structures itself around negative spaces, various gaps—in personal attention, social interaction, and institutional bureaucracy—and the incremental weight of what gets lost in this mix. ----------- PROGRAM ----------- Fail to Appear 70 min., 2017 Isolde (Deragh Campbell) is a support caseworker in training trying to get a handle on the protocols, norms, and material constraints of her new vocation. She’s assigned to the case of Eric (Nathan Roder), a withdrawn, sullen man charged with petty theft, with whom she must forge enough of a relationship that he’ll show up for his impending court date. Bourges’s Toronto-set debut precisely renders the mechanics and kinks of the Canadian legal system and social services, conferring an element of documentary reality on a droll, touching narrative, which has an elegantly unembellished style that verges on the Bressonian
5/3
New Brunswick, New Jersey: NOFLASH Video Show
NOFLASHvideo.org
6pm, Voorhees Hall & Zimmerli Art Museum at Rutgers University
NOFLASH VIDEO SHOW 2019
Based in New Brunswick, New Jersey, the third annual NOFLASH Video Show is coming up May 3-5, 2019. Dedicated to showcasing ambitious new works by emerging filmmakers and time-based artists, NOFLASH 2019 will feature 29 works from 11 countries, in three avant-garde short film programs – Corporeal Considerations, Autobios & Animations, and Pensive Portraiture – as well as a popup video art exhibition, and a reception with performances. Reserve your free tickets and learn more at NOFLASHvideo.org. Sponsored by the Rutgers Filmmaking Center and the Zimmerli Art Museum at Rutgers University.
SATURDAY, MAY 4, 2019
5/4
San Francisco: Other Cinema
http://www.othercinema.com/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=834b0bcf3d&e=f36020cad0>
8pm, 992 Valencia Street
FORSTER'S 8-TRACK MIND + VIDEO NUGGETS
A dear uncle to OC, as well as a dedicated documentarian, radio DJ, and registered nurse, Russ Forster deliverpays his new zine issue on the occasion of the 25th anniversary of his So Wrong They’re Right, thee best doc ever on those odd ‘70s cartridges! Russ shows off his most super stylized 8-Track decks, unspools both music and video clips, and updates us on that subculture’s state. His trusty theremin is conscripted into use as well, in fact performing a duet with David Cox on Optigan!! Cox also demos the Mellotron loop-pedal, before giving way to Bryan Boyce’s karaoke kookiness. This whole family tree of formats is grounded in the fertile field of mid-century rock music, that we excavate in the form of...Nuggets! Yes, THAT Nuggets, the legendary double-album of pop psychedelia/proto-punk that blew the minds of an entire generation: 13th Floor Elevators, Blues Magoos, Electric Prunes, Strawberry Alarm Clock, The Seeds!!..and these are just a few in the 99 mins. of ultra-early/rare music videos coming all the way from Ryan Daly’s quintessential Louisville collection...played LOUD here on the new ATA speakers!*$8.88
SUNDAY, MAY 5, 2019
5/5
Cambridge, Massachusetts: Harvard Film Archive
http://hcl.harvard.edu/hfa <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=cc07fbaf34&e=f36020cad0>
7pm, 24 Quincy Street
AN EVENING WITH SKY HOPINKA
The searching, striking digital films of Sky Hopinka (b. 1984) are complex formal arrangements, conceptually and aesthetically dense, characterized by an intricate layering of word and image. But they are also wellsprings of beauty and mystery, filled with surprising confluences of speech and song, color and motion. A member of the Ho-Chunk Nation of Wisconsin, Hopinka has described his work as “ethnopoetic,” a term that encompasses several imperatives—among them, the mission to reclaim the ethnographic gaze that has dominated the representation of indigenous cultures and to bring the indirection of poetry to an exploration of Native identity both past and present. Hopinka, who is fluent in Chinuk Wawa, has been an active participant in its revival in the Pacific Northwest, and language occupies a central role in his films. Many of them deal with the challenges of language preservation and transmission and, more broadly, with language as a container of culture. In Hopinka’s videos, words are heard and seen, learned and read, translated and transcribed, their meanings by turns communicated and withheld. The emphasis on language—specifically, the act of language learning, with its inherent lacunae of understanding, its movement from confusion to clarity—is often mirrored in the formal operations of his films. The seven-minute Jáaji Approx., Hopinka’s most widely screened work to date (it appeared, for instance, in last year’s Sundance and Ann Arbor film festivals), remains the most concise, and perhaps most vivid, example of the filmmaker’s contrapuntal method. Jáaji is the direct-address word for “father” in the Hočąk language; the second part of the title alludes not only to the approximations of translation but also to the notions of proximity and distance that shape the video’s form and content. A road movie through archetypal landscapes of the American West, it combines fragmentary shots of open skies, coastlines, forests, mountains, deserts, and highways with Hopinka’s audio recordings of his father’s stories and songs from the powwow circuit. The elder’s words, sometimes indistinct, initially appear on-screen as phonetic transcriptions. Midway through, Hopinka cuts in to accompany his father on a song, and as the gap between speaker and listener narrows, the editing slows and the mood shifts, the images becoming more intensely colored. Manipulating simple elements to emotionally complex ends, Jáaji Approx. creates an effect of space and time being at once traversed and collapsed, of a relationship and a shared history coming into focus. – Dennis Lim, adapted from his 2017 Artforum article
5/5
Los Angeles, California: Filmforum
http://www.lafilmforum.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=ae386d1dd6&e=f36020cad0>
7:30 pm, Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd.
KEVIN JEROME EVERSON: MORE NEW FILMS
Kevin Jerome Everson in person! Kevin Jerome Everson is one of the most prolific, important experimental filmmakers currently working. The kind of artist who thinks through the particular problems of cinema by making it, his indefatigable output perfectly fits Manny Farber’s description of “termite” art as having “no sign that the artist has any other object in mind other than eating away the immediate boundaries of his art, and turning these boundaries into conditions of the next achievement.” Everson’s films, by turns light and deeply affective, are never not alive. Because of his near-constant innovation, each new film surprises. Everson’s themes, though clearly identifiable, are never forced; they emerge organically through the course of his work. Among its many achievements, his oeuvre is one of the most significant records of contemporary African American life. Los Angeles Filmforum is delighted to welcome back Everson with the second program this week of recent works by Everson, including many premieres, with the artist in attendance. Tickets: $10 general; $6 students (with ID)/seniors; free for Filmforum Members. Available in advance from Brown Paper Tickets at https://everson2.bpt.me or at the door.
5/5
Portland, Oregon: Boathouse Microcinema
boathousemicrocinema.com
7:30pm, 822 N River St
VIDEO WORK CURATED BY HANNAH PIPER BURNS
Video work leaning towards the feminine and witchy
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