[Frameworks] This week [November 10 - 17, 2019] in avant garde cinema

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This week
[November 10-17, 2019]
in avant garde cinema







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Sidney Peterson's San Francisco Surrealism [November 10, Berkeley, California] 

NEW CALLS FOR ENTRIES:
Spectral Film Festival (Stevens Point, WI, USA; Deadline: January 19, 2020)
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Microscope Gallery (New York; Deadline: November 30, 2019)
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FLEFF (Ithaca, NY, USA; Deadline: January 01, 2020)
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Bethesda Film Fest (Bethesda, MD USA; Deadline: January 06, 2020)
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The 3rd Annual Film and Video Poetry Symposium (Los Angeles, Ca. USA; Deadline: May 03, 2020)
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Flight/Mostra del Cinema di Genova (Genova, Italy; Deadline: November 15, 2019)
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DEADLINES APPROACHING:
Winter Film Awards International Film Festival (New York, NY, USA; Deadline: November 15, 2019)
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NOFLASH Video Show (New Brunswick, NJ, USA; Deadline: December 15, 2019)
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Light Field (San Francisco, CA; Deadline: December 15, 2019)
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Cosmic Rays Film Festival (Chapel Hill, NC, USA; Deadline: December 01, 2019)
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Video Art Miden (Greece; Deadline: November 30, 2019)
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Microscope Gallery (New York; Deadline: November 30, 2019)
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Flight/Mostra del Cinema di Genova (Genova, Italy; Deadline: November 15, 2019)
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Events are sorted alphabetically BY CITY within each DATE.

This week's programs (summary):

*	Sidney Peterson's San Francisco Surrealism [November 10, Berkeley, California]
*	Erin Espelie: True Life Adventures [November 10, Los Angeles, California]
*	The Films of Holly Fisher, Pgm 5: Secuestro: A Story of A Kidnapping [November 10, New York, NY]
*	The Films of Holly Fisher, Pgm 6: Deafening Silence [November 10, New York, NY]
*	Shapeshifters Cinema Presents Lynne Sachs [November 10, Oakland]
*	Afa Members Only: Revenge of the Cheerleaders [November 11, New York, NY United States]
*	The Films of Holly Fisher, Pgm 7: Split Infinities + Everywhere At Once [November 11, New York, NY]
*	The Films of Holly Fisher, Pgm 8: B E D E V I L E D + A Question of Sunlight [November 12, New York, NY]
*	Show &Amp; Tell: Anja Dornieden &Amp; Juan David GonzÁLez Monroy, Pgm 1 [November 13, New York, NY]
*	All That You Can’T Leave Behind [November 14, Los Angeles, California]
*	Show &Amp; Tell: Anja Dornieden &Amp; Juan David GonzÁLez Monroy, Pgm 2 [November 14, New York, NY]
*	The Hottest August At Bam Cinema [November 15, Brooklyn, NY United States]
*	Tessa Hughes-Freeland: Girls On Film [November 15, New York, NY United States]
*	Show &Amp; Tell: Anja Dornieden &Amp; Juan David GonzÁLez Monroy, Pgm 3 [November 15, New York, NY]
*	Refuge. [November 16, London, England]
*	South Oxford, All Iowa Lawn Tennis Club, Maravilla, Serve [November 16, Los Angeles, California]
*	Ec: Jerome Hill [November 16, New York, NY]
*	Ec: Hugo / Jacobs / Levitt / Maas [November 16, New York, NY]
*	Jonas Mekas, Program 4: Shorts Pgm [November 16, New York, NY]
*	Media Archeology2: Optron3 [November 16, San Francisco]
*	South Oxford, All Iowa Lawn Tennis Club, Maravilla, Serve [November 17, Los Angeles, California]
*	Visions: Filipa CÉSar | 17.11.19 | Spell Reel [November 17, Montrèal]
*	Jonas Mekas, Program 5: the Education of Sebastian Or Egypt Regained [November 17, New York, NY]


SUNDAY, NOVEMBER 10, 2019

 

11/10
Berkeley, California: Pacific Film Archive
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7pm, Berkeley
SIDNEY PETERSON’S SAN FRANCISCO SURREALISM
After collaborating with James Broughton on The Potted Psalm, Sidney Peterson was invited to teach the first-ever filmmaking classes at the California School of Fine Arts (now the San Francisco Art Institute). There, with his Workshop 20 students, he made a series of dazzlingly strange and wonderful films in which poetic intelligence, a spirit of radical experimentation, and the exuberant energy of the students transformed San Francisco into bizarre dreamscapes. Balzac meets Picasso in Mr. Frenhofer and the Minotaur, a surreal retelling of The Unknown Masterpiece from the point of view of painter Frenhofer’s model Gillette. In The Cage an eyeball escapes its socket and is pursued through the city. The Petrified Dog shows the strange world of adults through the mind of an eight-year-old girl. The Lead Shoes sets two murder ballads to a propulsive score, accompanying an oblique oedipal drama that revolves around a diving suit unearthed on the beach. Films in this Screening Mr. Frenhofer and the Minotaur, Sidney Peterson, United States, 1949; The Cage, Sidney Peterson, United States, 1947; The Petrified Dog, Sidney Peterson, United States, 1948; The Lead Shoes, Sidney Peterson, United States, 1949

11/10
Los Angeles, California: Filmforum
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7:30 pm, Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd.,
ERIN ESPELIE: TRUE LIFE ADVENTURES
The films of Erin Espelie strike sparks at collisions between the scientific and the poetic. Her lustrous images experiment with representations of nature and light, sometimes in seemingly straightforward pictures of animals or trees in the “wild”; other times experimenting with matted frames and superimpositions. Her rich soundtracks create tensions with the images, finding the ironic contrast between traditional nature films with their anthropomorphizing tendencies against her poetical organizations and concern with language; other times crafting a bold layering of “natural” sonic possibilities. Conventions of science films fall asunder as a different form of nature film is built. Conventions of poetic films are similarly questioned through the regular referencing to the scientific. We’re delighted to host Erin Espelie, who also currently serves as the editor-in-chief of Natural History magazine, at the first screening of her short films in Los Angeles. Note the change in ticketing for our events at the Egyptian Theatre starting with this program. Advance paid tickets will be reserved through the American Cinematheque site; Filmforum members will reserve through Brown Paper Tickets. At the theatre on the night of the show, tickets will be available through the Egyptian Theatre ticket window. Tickets: $12 general; $8 students (with ID)/seniors; $8 for American Cinematheque members; free for Filmforum Members. Paid tickets available in advance through the American Cinematheque from Fandango at https://www.fandango.com/egyptian-theatre-hollywood-aaofx/theater-page?date=2019-11-10 or at the door. Student & senior tickets are available only at the door. Filmforum member tickets available through Brown Paper Tickets at https://erinespelie.bpt.me or at the door.

11/10
New York, NY: Anthology Film Archives
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5:15 PM, 32 Second Avenue
THE FILMS OF HOLLY FISHER, PGM 5: SECUESTRO: A STORY OF A KIDNAPPING
Camila Motta SECUESTRO: A STORY OF A KIDNAPPING (1993, 93 min, 16mm. Edited by Holly Fisher.) In Colombia, a kidnapping occurs every seven hours; in 1985, 20-year-old Sylvia Motta was abducted by ten armed men. In SECUESTRO, Camila Motta, the victim's sister, recreates the harrowing three months during which Sylvia was chained to a bed while her father negotiated for her life. Motta builds a riveting story around remarkably candid interviews, including one with Juan, a construction worker moonlighting as one of Sylvia's guards, and through actual recordings of the negotiation, which begin with a $450,000 price tag. Motta uses Sylvia's voice, sometimes overlapping with other interviews, to create a vivid portrait of the psychological torment of her captivity. Footage of daily life in Colombia makes palpable the underlying extremes of wealth and poverty that have given rise to a turn of events in which the bizarre has become commonplace.

11/10
New York, NY: Anthology Film Archives
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7:30 PM, 32 Second Avenue
THE FILMS OF HOLLY FISHER, PGM 6: DEAFENING SILENCE
2012, 120 min, digitalShare +Twitter. "DEAFENING SILENCE is a fusion of beauty and terror, observation and anger, roving visuals and intimate stories that are funny, contemplative, or horrific - a subjective, layered depiction of Burma under brutal military dictatorship. My first trip was legal, shooting video as a fake tour guide doing research. The next was on foot, under-cover with ethnic Karen guerrillas, to film internal exiles surviving in a free-fire jungle war zone. Colonial archival imagery and clips from YouTube are woven within this tapestry of fragments, often in ironic counterpoint, and always to pierce the chokehold of censorship. This is a living history of a country arrested in time, a hybrid documentary focusing on ethnic genocide but with constant poetic resonance and a rich multiplicity of references to history and popular culture." -Hank Heifetz & Holly Fisher

11/10
Oakland: Shapeshifters Cinema
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7:30-10PM, 567 5th St.
SHAPESHIFTERS CINEMA PRESENTS LYNNE SACHS
PLEASE NOTE OUR NEW LOCATION: 567 5th St. OAKLAND. How do we negotiate the photographing of images that contain the body? What experiential, political or aesthetic contingencies do we bring to both the making and viewing of a cinema that contains the human form? If a body is different from our own – in terms of gender, skin color, or age – do we frame it differently? How does looking at a body on screen make us feel? New York filmmaker Lynne Sachs will guide her audience through her own evolution as a filmmaker by sharing excerpts from her own films in "My Body, Your Body, Our Bodies: Somatic Cinema at Home and in the World" an expanded cinema screening and talk. Sachs will explore the fraught and bewildering challenge of looking at the human form from behind the lens. Inspired by the performance self-portrait films of Vito Acconci, the audience will also be included in the making of a live, impromptu production. Excerpts from these films by Lynne Sachs will be included: “Drawn and Quartered” (4 min. 1986); “Still Life with Woman and Four Objects” (4 min. 1986); "Sermons and Sacred Pictures" (29 min. 1989); “The House of Science: a museum of false facts" (30min. 1991); "A Biography of Lilith" (35 min. 1997); “Window Work” (9 min. 2000); “Wind in Our Hair” (40min. 2010); “Same Stream Twice” (4min. 2012); “Your Day is My Night” (64min. 2013); “And Then We Marched” (4 min. 2017); "Carolee, Barbara & Gunvor" (8 min. 2018); “A Year of Notes and Numbers” (4 min. 2018); "The Washing Society" (44 min. 2018).


MONDAY, NOVEMBER 11, 2019

 

11/11
New York, NY United States: Anthology Film Archives
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8:00 PM, 32 Second Ave
AFA MEMBERS ONLY: REVENGE OF THE CHEERLEADERS
Richard Lerner REVENGE OF THE CHEERLEADERS (1976, 87 min, 35mm) FREE SCREENING! DIRECTOR RICHARD LERNER IN PERSON! Reception at 7:30! Once every calendar we offer a special, AFA Members-Only screening, featuring sneak-previews of upcoming features, programs of rare materials from Anthology’s collections, in-person filmmaker presentations, and more! The benefits of an Anthology membership have always been plentiful: free admission to over 100 Essential Cinema programs, reduced admission to all other shows, discounted AFA publications. But with these screenings – free and open only to members – we sweeten the pot even further. Become a member at our box office, or at anthologyfilmarchives.org This calendar we present a screening of the grindhouse sex comedy, REVENGE OF THE CHEERLEADERS, directed by Richard Lerner in close collaboration (believe it or not) with experimental filmmaker Nathaniel Dorsky (whose own films will be screening from October 11-13; click here for details). Director Richard Lerner will be here in person! Co-produced, co-written, and photographed by Nathaniel Dorsky, with editing assistance from Jerome Hiler. With Norman Thomas Marshall, Carl Ballantine, David Hasselhoff, and Rainbeaux Smith. This quickie sequel to the 1973 drive-in success, THE CHEERLEADERS, is a cult sex comedy that has been brought to film buffs’ attention in recent years in part thanks to the advocacy of Quentin Tarantino (who has acknowledged its influence on his 2007 film, DEATH PROOF). But its vast importance within the walls of Anthology Film Archives is due not to Tarantino but to an entirely different director who was in fact instrumental in the actual production of REVENGE OF THE CHEERLEADERS: renowned experimental filmmaker Nathaniel Dorsky! Though he’s never kept it a secret, few realize that Dorsky’s filmography encompasses a cheerleading sex comedy (one that includes an early appearance by David Hasselhoff to boot). But the unlikely fact remains that Dorsky was all over the production of REVENGE OF THE CHEERLEADERS, serving as the co-producer, co-writer, and cinematographer on this exploitation gem. Directed by Richard Lerner, who would later direct documentary films like WHAT HAPPENED TO KEROUAC? (1986) (co-produced and -edited by Dorsky), REVENGE manages to abide by the tropes and demands of the genre, while subtly pushing against the male gaze, incorporating a trenchant socio-economic critique via the presence in the plot (and specifically on the school’s board) of a powerful and corrupt real estate developer, and achieving a level of unbridled strangeness that launches it into a whole different realm of sublimity.

11/11
New York, NY: Anthology Film Archives
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7:30 PM, 32 Second Avenue
THE FILMS OF HOLLY FISHER, PGM 7: SPLIT INFINITIES + EVERYWHERE AT ONCE
SPLIT INFINITIES (1976-2017, 36 min, digital) Includes: GLASS SHADOWS (1976, 13.5 min, 16mm), FROM THE LADIES (1977, 20 min, 16mm), 3.21.17 IN ANTICIPATION OF A MOVE TO JERSEY CITY (2017, 1.5 min, digital), and SPLIT INFINITY (LONG BEACH WALK) (2016, 1 min, digital) Two films and two iPhone sketches, with 40 years between them. Includes formal studies in light and shadow, subjectivity and objectivity, film material and the creative process. A filmmaker's self-portrait in time, and by chance. EVERYWHERE AT ONCE (2010, 73 min, 35mm. In French with projected English subtitles.) "Renowned photographer Peter Lindbergh and experimental filmmaker Holly Fisher collaborate to weave together a tapestry of images, incorporating Lindbergh's still pictures with clips from the Tony Richardson film MADEMOISELLE (1966), starring Jeanne Moreau. The photographs are animated through a re-filming process to create a flow of moving images that are intercut with passages from the movie. Iconic actress Jeanne Moreau, using a text by American poet Kimiko Hahn, narrates the diary-like fragments of memories and recollections in the first person. […] The film might be read as a biography of Moreau's own life, as a fictional discourse on the protagonist's emerging sense of selfhood, or as a humanist meditation about childhood, youth, and old age. Whatever the viewer's interpretation may be, the film functions most deeply on the level of an intensely subjective rumination on perception." -Jon Gartenberg Total running time: ca. 115 min.


TUESDAY, NOVEMBER 12, 2019

 

11/12
New York, NY: Anthology Film Archives
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7:30 PM, 32 Second Avenue
THE FILMS OF HOLLY FISHER, PGM 8: B E D E V I L E D + A QUESTION OF SUNLIGHT
b e d e v i l e d (2006-19, 20 min, digital) Dragon bones and snakes embracing; skeletons in underwear, flying shoes, and bug-eyed aliens are among the characters that comprise the annual NYC Halloween parade - filmed and transformed into a subjective extra-terrestrial dreamscape. Fragmented, cyclic, and in continual flux, b e d e v i l e d is a collage in motion. From early furtive sketches, I've reworked my original Hi-8 video into a layered weave of images phasing between the imaginary and 'reality' - from Day of the Dead spectacle to clocks at play with lightbulbs. The haunting music of avant-garde composer Lois V Vierk is performed by cellist Theodore Mook. A QUESTION OF SUNLIGHT (2002-19, 82 min, 16mm-to-digital) Recorded in the shadow of the World Trade Center towers only months after their collapse, A QUESTION OF SUNLIGHT links 9/11 with the Holocaust, via "the telling of memories" by visual artist José Urbach, witness to both. José speaks almost magically, from childhood to the present, and anywhere in between. He was a Polish child born into the Holocaust, and as he watched the first plane smash into the World Trade Center from his kitchen window in lower Manhattan, he had a radical flashback, recalling the start of WWII. The irony is that he was in his mother's belly that day - he was born six months later. Total running time: ca. 105 min.


WEDNESDAY, NOVEMBER 13, 2019

 

11/13
New York, NY: Anthology Film Archives
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7:30 PM, 32 Second Avenue
SHOW & TELL: ANJA DORNIEDEN & JUAN DAVID GONZÁLEZ MONROY, PGM 1
Working as a team since the beginning of the decade, Anja Dornieden and Juan David González Monroy have in a very short time constructed a remarkably rich body of work that ranks among the most genuinely distinctive in the constellation of contemporary avant-garde cinema. Astonishingly prolific and dizzyingly diverse in their formal approaches and visual strategies, the Berlin-based Dornieden and González Monroy work exclusively in 16mm. But while they show a deep fascination with and understanding of the textures and technical qualities of the medium, their work is far more multi-faceted and conceptually slippery than the majority of the impressionistic, celluloid-infatuated films that appear with such regularity in the landscape of experimental cinema. Channeling the playful yet demanding structural gambits of Hollis Frampton and Owen Land, Dornieden and González Monroy's films employ various techniques - optical manipulation, onscreen texts, and above all a frequent use of voiceover narration - to overlay and complicate their imagery in fascinating ways. Their texts and narrations usually take the form of an authoritative, direct address from mysterious, unknown figures, and constitute declarative but bizarre instructions or spin strange narratives whose relationship to the films' visual tracks is ambiguous and puzzling. Never content to conjure a mere mood or visual experience, the films explore ideas about the nature of photography, perception, and language. They probe the ways meanings are constructed from visual evidence - but here the meanings are often manifestly disjunctive, and presented by narrators whose affectless, "neutral" voices are almost always of questionable reliability. More often than not, the films' visual and intellectual wanderings are filtered through invented histories, elaborate backstories, obscure myths, or quasi-science-fiction frameworks. This three-program chapter of "Show & Tell" constitutes an in-depth introduction to Dornieden and González Monroy's endlessly inventive and singular work. PROGRAM 1: JOKES & PRAYERS ORO PARECE (2012, 6 min, 16mm) GENTE PERRA (2014, 25 min, 16mm) EIGENHEIM (2012, 16 min, 16mm) WOLKENSCHATTEN (2014, 16 min, 16mm) THE SKIN IS GOOD (2018, 12 min, 16mm) Total running time: ca. 80 min.


THURSDAY, NOVEMBER 14, 2019

 

11/14
Los Angeles, California: Filmforum
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7:00 pm, MOCA Grand Avenue, Ahmanson Theater, 250 S. Grand Ave.,
ALL THAT YOU CAN’T LEAVE BEHIND
Los Angeles Filmforum at MOCA presents All That You Can’t Leave Behind Darol Olu Kae, Sara Suarez, and ariella tai in person! Los Angeles Premieres! All That You Can’t Leave Behind is a program of films that mix the personal and the political, using montage, memory, and archives not only as filmic strategies, but as tools of historical intervention. Taking its name from Ufuoma Essi’s deeply sensorial video collage, this program gestures to the fissures within the historical record and the radical potential of documenting and witnessing. INFO 213/621-1745 or education at moca.org <mailto:education at moca.org>  TICKETS $15 general admission, $8 students with ID FREE for MOCA & Los Angeles Filmforum members; must present current membership card to claim free tickets. Tickets available in advance at https://www.brownpapertickets.com/event/4428107

11/14
New York, NY: Anthology Film Archives
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7:30 PM, 32 Second Avenue
SHOW & TELL: ANJA DORNIEDEN & JUAN DAVID GONZÁLEZ MONROY, PGM 2
Working as a team since the beginning of the decade, Anja Dornieden and Juan David González Monroy have in a very short time constructed a remarkably rich body of work that ranks among the most genuinely distinctive in the constellation of contemporary avant-garde cinema. Astonishingly prolific and dizzyingly diverse in their formal approaches and visual strategies, the Berlin-based Dornieden and González Monroy work exclusively in 16mm. But while they show a deep fascination with and understanding of the textures and technical qualities of the medium, their work is far more multi-faceted and conceptually slippery than the majority of the impressionistic, celluloid-infatuated films that appear with such regularity in the landscape of experimental cinema. Channeling the playful yet demanding structural gambits of Hollis Frampton and Owen Land, Dornieden and González Monroy's films employ various techniques - optical manipulation, onscreen texts, and above all a frequent use of voiceover narration - to overlay and complicate their imagery in fascinating ways. Their texts and narrations usually take the form of an authoritative, direct address from mysterious, unknown figures, and constitute declarative but bizarre instructions or spin strange narratives whose relationship to the films' visual tracks is ambiguous and puzzling. Never content to conjure a mere mood or visual experience, the films explore ideas about the nature of photography, perception, and language. They probe the ways meanings are constructed from visual evidence - but here the meanings are often manifestly disjunctive, and presented by narrators whose affectless, "neutral" voices are almost always of questionable reliability. More often than not, the films' visual and intellectual wanderings are filtered through invented histories, elaborate backstories, obscure myths, or quasi-science-fiction frameworks. This three-program chapter of "Show & Tell" constitutes an in-depth introduction to Dornieden and González Monroy's endlessly inventive and singular work. PROGRAM 2: FANCY MANUALS AWE SHOCKS (2011, 3 min, 16mm) THE HANDEYE (BONE GHOSTS) (2012, 7 min, 16mm) HELIOPOLIS HELIOPOLIS (2017, 26 min, 16mm) COMFORT STATIONS (2018, 26 min, 16mm) Total running time: ca. 65 min.


FRIDAY, NOVEMBER 15, 2019

 

11/15
Brooklyn, NY United States: BAM Film
2:00 PM, BAM
THE HOTTEST AUGUST AT BAM CINEMA
How do you feel about the future? That’s the question filmmaker Brett Story (The Prison in Twelve Landscapes) posed to dozens of New York City residents. Balancing the engaging humanity of its subjects with an eerie science-fiction dread, The Hottest August is a funny, urgent, provocative, and visually mesmerizing look into our future as seen from the perilous present. Join us for Q&As with Brett Story Nov 15—17. This film screens at BAM Nov 15—21 for an exclusive New York run. Q&A Times 11/15, 7pm: Q&A with Brett Story, moderated by filmmaker Jem Cohen (Chain, Museum Hours) 11/16, 4.30pm: Q&A with Brett Story, moderated by Ashley Clark, Senior Repertory and Specialty Film Programmer, BAM 11/16, 7pm: Q&A with Brett Story hosted by Women on Docs 11/17, 4.30pm: Q&A with Brett Story, moderated by filmmaker, activist, and musician Astra Taylor Get Showtimes: http://bit.ly/2q1yFEj

11/15
New York, NY United States: Howl Happening
7:00 PM, 6 E 1st St
TESSA HUGHES-FREELAND: GIRLS ON FILM
Friday, November 15, 2019 / 7 PM / Free Tessa Hughes-Freeland: Girls on Film Film Screening Looking deeper into her filmmaking, Hughes-Freeland shows work made from the 1990s to the present, including the premiere of the recently completed film Lost Movie/The Bug, a cautionary tale of sexual exploits. Also on view will be Dirty—a collaboration with Annabel Lee loosely based on Georges Battaille’s Blue of Noon—and Nymphomania, a depiction of an Arcadian myth gone awry, made in collaboration with Holly Adams. Total Running time: 53.05 minutes. Films: "Dirty." 1993. Made in collaboration with Annabel Lee "Nymphomania," 1994. Made in collaboration with Holly Adams "Instinct," 2007 "Gift," 2010 "The Bug/Lost Movie." 1998-2018 Q&A to follow with the artist and Charlie Ahearn. Charlie Ahearn is an American film director and artist living in New York City. Predominantly involved in film and video production, he is also known for his work as an author, freelance writer, and radio host. His film Wild Style was first screened in 1982 and went on to become the classic Hip Hop movie. After directing other films such as Fear of Fiction and artist documentaries Ahearn co-authored book Yes Yes Y’all, released in 2002; an oral history of the first decade of Hip Hop with many photos by Ahearn. Ahearn has been producing documentaries such as Richard Hunt Sculptor (2010), Jamel Shabazz Street Photographer (2011) and Hip Hop musical shorts, his latest being All City Take It To The Bridge. Image: Still from Lost Movie/The Bug, 1998-2018

11/15
New York, NY: Anthology Film Archives
 <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=8e6007fecc&e=f36020cad0> http://www.anthologyfilmarchives.org/
7:30 PM, 32 Second Avenue
SHOW & TELL: ANJA DORNIEDEN & JUAN DAVID GONZÁLEZ MONROY, PGM 3
Working as a team since the beginning of the decade, Anja Dornieden and Juan David González Monroy have in a very short time constructed a remarkably rich body of work that ranks among the most genuinely distinctive in the constellation of contemporary avant-garde cinema. Astonishingly prolific and dizzyingly diverse in their formal approaches and visual strategies, the Berlin-based Dornieden and González Monroy work exclusively in 16mm. But while they show a deep fascination with and understanding of the textures and technical qualities of the medium, their work is far more multi-faceted and conceptually slippery than the majority of the impressionistic, celluloid-infatuated films that appear with such regularity in the landscape of experimental cinema. Channeling the playful yet demanding structural gambits of Hollis Frampton and Owen Land, Dornieden and González Monroy's films employ various techniques - optical manipulation, onscreen texts, and above all a frequent use of voiceover narration - to overlay and complicate their imagery in fascinating ways. Their texts and narrations usually take the form of an authoritative, direct address from mysterious, unknown figures, and constitute declarative but bizarre instructions or spin strange narratives whose relationship to the films' visual tracks is ambiguous and puzzling. Never content to conjure a mere mood or visual experience, the films explore ideas about the nature of photography, perception, and language. They probe the ways meanings are constructed from visual evidence - but here the meanings are often manifestly disjunctive, and presented by narrators whose affectless, "neutral" voices are almost always of questionable reliability. More often than not, the films' visual and intellectual wanderings are filtered through invented histories, elaborate backstories, obscure myths, or quasi-science-fiction frameworks. This three-program chapter of "Show & Tell" constitutes an in-depth introduction to Dornieden and González Monroy's endlessly inventive and singular work. PROGRAM 3: NO AUTHORITY A FLEA'S SKIN WOULD BE TOO BIG FOR YOU (2013, 47 min, 16mm) THE MASKED MONKEYS (2015, 30 min, 16mm) Total running time: ca. 80 min.


SATURDAY, NOVEMBER 16, 2019

 

11/16
London, England: Close-up Film Centre
 <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=aba589bc4e&e=f36020cad0> https://www.closeupfilmcentre.com/film_programmes/2019/refuge/.
18.00pm., 97 Sclater Street. E1 6HR.
REFUGE.
We're pleased to present a programme of films on curated by Peter Todd to explore the theme of "refuge" featuring films by ROBERT VAS, LUKE FOWLER, ANTHEA KENNEDY, LEAH MILLAR, JOANNA MARGARET PAUL, MARGARET TAIT, PETER TODD, SARAH WOOD and poems read by poet STEPHEN WATTS. "A programme of films themed around finding a place to be, of refuge, of home, which can of course be various, by choice, by necessity, and in-between these two. Refuge England, a Free Cinema film made in 1950s London provides a starting point. The programme also includes work by Margaret Tait in this last month of the year long celebrations marking her birth one of which Garden Pieces was her last film and reflects the importance of her garden and the natural world as a place of refuge. I hope the films all get their space, and the resonances between them, and this occasion provides a unique experience." – Peter Todd. Introduced by Peter Todd with filmmakers Anthea Kennedy, Leah Millar, and Sarah Wood. REFUGE ENGLAND. 
Robert Vas, 1959, 27 min, 16mm. "The film records the experiences of a Hungarian refugee arriving in London with no English, little money and with his only prospect of help an incomplete address written on a postcard. The director's own experiences - Vas himself came to London as a refugee in 1956 - give the film an authenticity in its portrayal of the protagonist's conflicting responses to his new environment: isolation and wonder, despair and hope. Refuge England is also a unique record of London in the late 1950s, from Waterloo to the West End to the semi-detached houses of suburbia, seen through the enquiring and impartial eyes of an outsider"’ – Christophe Dupin. MUM"S CARDS. 
Luke Fowler, 2018, 9'03 min, digital. “My mother is a Sociologist – she came to Glasgow from the south of England in the 60’s to work within the Politics Department of Glasgow University- after a few years the Sociologists broke away and formed their own department, where she taught until she retired. Although the university advocated and furnished her with her own personal computer – she still used index cards to make notes on the books and articles that she read. Now that she no longer has an office her house is filled with shoeboxes and filing cabinets containing these cards. My mother was absent on the day that I shot this film; the interview and sounds were recorded at a later date" – Luke Fowler. JILLIAN DRESSING
. Joanna Margaret Paul, 1976, 2'30 min.* Filmed in a mirror, in silhouette, a woman preparing for the day. AERIAL. 
Margaret Tait, 1974, 4 min, 16mm. "Touches on elemental images: air, water (and snow), earth, fire (and smoke), all come into it. The track consists of a drawn out musical sound, single piano notes and some neutral sounds." – Margaret Tait. "Here’s a tiny poem of the relentlessness and beauty all around us, I would say unnoticed, but the point of a Tait film is the noticing." – Ali Smith. A RECIPE FOR MAGICAL PROJECTION. 
Leah Millar, 2018, 6'53 min digital. “Made in and of a community garden in Whitley Bay, where I found children and their pets playing in on a small patch of land between houses. Their families watched closely from the sidelines, maintaining a safe space for daring tree climbs, potion making and make believe. Film footage was hand-developed using locally harvested rosemary and is interspersed with animation in a narrative of ritual, play, protection and growth. Thanks to the spell-casters and their animal familiars." – Leah Millar. GARDEN PIECES. 
Margaret Tait, 1998, 12 min. 16mm. Tait’s last film. A set of three film poems composed around the theme of the garden – the central one featuring hand scratched animated drawings. THE BAG OF A THOUSAND POCKETS. 
Anthea Kennedy, 2002, 8 min digital. ""My bag has a thousand pockets. In each one is a memory." So says my father as he reels off brief and fragmented recollections of his life in Germany." – Anthea Kennedy. AZURE. Sarah Wood, 2016, 7 min digital. Text/voice Ali Smith. "Azure is the colour of the sky on a clear summer’s day. Azure is a colour that suggests openness, ease, possibility. Azure is the name of the card given to the people who arrive in Britain seeking asylum." – Sarah Wood. TOGETHER. 
Peter Todd, 2018, 3 min, 16mm. "Cups on a sunlit table. Flowers and tomatoes in a garden. A view through a window. Views of the sea. Plates on a sunlit table. A few of the sequence of images." – Peter Todd. Total runtime: ca 90 min. With thanks to Gareth Evans for his programme at the Whitechapel Gallery also called Refuge 8th Feb 2018, to Sarah Christian, Luke Fowler, Magdalena Harris and the Paul family, Anthea Kennedy, Leah Millar, the late Alex Pirie, the late Margaret Tait, Sarah Wood, BFI, LUX, MT100, Refugee Tales, and to Camille, Damian, and Oliver at Close-Up. *In fond memory of Jane Paul film archivist - 19 January 1958 Hamilton, New Zealand – 13 November 2018 Wellington, New Zealand.

11/16
Los Angeles, California: Filmforum
 <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=22addffd15&e=f36020cad0> http://www.lafilmforum.org/
9:00 pm, TCL Chinese Theatre
SOUTH OXFORD, ALL IOWA LAWN TENNIS CLUB, MARAVILLA, SERVE
South Oxford, All Iowa Lawn tennis Club, Maravilla, Serve At the AFI Fest, http://fest.afi.com. Director: Darius Clark Monroe USA, 2019, Feature Documentary, 46 min. Screening: Saturday, November 16 @ 9:00 pm, Chinese 5 Sunday, November 17 @ 1:00 pm, Chinese 5 https://fest.afi.com/2019/short-films-2019/south-oxford-all-iowa-lawn-tennis-club-maravilla-serve Filmmaker Darius Clark Monroe returns to the screen with a series of intimate nonfiction shorts exploring America’s culture and passion for tennis and handball. Four stories, warmly crafted with both archival and original materials, illustrates the great humanity of society and the powerful, soulful bond we experience through sports. Richard Northern and his wife reflect on owning a tennis club for almost two decades in Brooklyn. In Iowa, Mark Kuhn shares his story of building a grass-court on their farmland and what their passion project means after the family is struck by tragedy. An East LA handball court creates an unexpected community amongst political and social turmoil. A woman cares for her elderly mother while passionately coaching students on the court. Their stories, warmly crafted with both archival and original materials, illustrates the great humanity of society and the powerful, soulful bond we experience through sports. Darius Clark Monroe (BLACK 14, RANDOM ACTS OF FLYNESS, EVOLUTION OF A CRIMINAL) is a writer, producer and director. Monroe’s collective work has screened at SXSW, BAMcinemaFest, Full Frame, BlackStar, MoMA, Whitney Museum, Palm Springs, Sundance, True/False, New Directors, AFI FEST, Tribeca, Telluride, Tokyo and Uppsala and appeared on HBO, PBS, Netflix, and at innumerable galleries, schools, churches, backyards, and hotel banquet halls. Monroe was born/bred in Houston and lives in BedStuy, BK.

11/16
New York, NY: Anthology Film Archives
 <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=4ad453890a&e=f36020cad0> http://www.anthologyfilmarchives.org/
4:30 PM, 32 Second Avenue
EC: JEROME HILL
These 35mm prints are the result of a preservation project undertaken by the Museum of Modern Art. DEATH IN THE FORENOON (1934/66, 2 min, 35mm) CANARIES (1969, 4 min, 35mm) & FILM PORTRAIT (1971, 81 min, 35mm) A pioneering work in autobiographical cinema, FILM PORTRAIT masterfully combines actual and staged footage and painting over images. Filmmaker, painter, and composer Jerome Hill was born into the famous James J. Hill railroad-building family and lived on the same street as F. Scott Fitzgerald. Here he re-creates wonderfully - with old family footage - the period and milieu of the American upper class at the beginning of the 20th century. Total running time: ca. 90 min.

11/16
New York, NY: Anthology Film Archives
 <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=19bd9178fc&e=f36020cad0> http://www.anthologyfilmarchives.org/
6:30 PM, 32 Second Avenue
EC: HUGO / JACOBS / LEVITT / MAAS
Ian Hugo BELLS OF ATLANTIS (1952, 10 min, 16mm. Preserved by the Library of Congress through the Avant-Garde Masters program funded by The Film Foundation and administered by the National Film Preservation Foundation.) A film poem, based on Anaïs Nin's HOUSE OF INCEST, narrated by and featuring Nin. "[BELLS OF ATLANTIS was] inspired by the prologue to my HOUSE OF INCEST and the line: 'I remember my first birth in water.' The film evoked the watery depths of the lost continent of Atlantis. It is a lyrical journey into prenatal memories, the theme of birth and rebirth from the sea." -Anaïs Nin Ken Jacobs LITTLE STABS AT HAPPINESS (1959-63, 18 min, 16mm. With Jack Smith.) "Material was cut in as it came out of the camera, embarrassing moments intact. 100' rolls timed well with music on old 78s. I was interested in immediacy, a sense of ease, and an art where suffering was acknowledged but not trivialized with dramatics. Whimsy was our achievement, as well as breaking out of step." -Ken Jacobs Helen Levitt, Janice Loeb, and James Agee IN THE STREET (1952, 12 min, 16mm, b&w. Preserved by Anthology Film Archives.) "Informality is indeed the crucial and virtually definitive quality of IN THE STREET; it is even the guiding principle and vision. […] This is the extreme realization of a classic 'naturalistic' genre, the German 'street film,' where the street was imaged as the arena of the everyday and random, the channel in which the 'stream of life' conveniently became microcosmic." -Ken Kelman, THE ESSENTIAL CINEMA Willard Maas GEOGRAPHY OF THE BODY (1943, 7 min, 16mm, b&w. Preserved by Anthology with support from The National Film Preservation Foundation.) "The terrors and splendors of the human body as the undiscovered, mysterious continent." -Willard Maas Total running time: ca. 55 min.

11/16
New York, NY: Anthology Film Archives
 <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=7c44f02989&e=f36020cad0> http://www.anthologyfilmarchives.org/
8:15 PM, 32 Second Avenue
JONAS MEKAS, PROGRAM 4: SHORTS PGM
CASSIS (1966, 4.5 min, 16mm) I was visiting Jerome Hill. Jerome loved France, especially Provence. He spent all his summers in Cassis. My window overlooked the sea. I sat in my little room, reading or writing, and looked at the sea. I decided to place my Bolex exactly at the angle of light as what Signac saw from his studio which was just behind where I was staying, and film the view from morning till after sunset, frame by frame. ON MY WAY TO FUJIYAMA I MET… (Filmed 1983/91/edited 1995, 25 min, 16mm) Images from two trips to Japan, 1983 and 1991. With music - percussion - by Dalius Naujokaitis. A song, or maybe a duet between images and sound. A sutra, perhaps. SONG OF AVIGNON (1998, 8.5 min, 16mm) Reflections on my 1966 trip to Avignon that helped me to survive a deep crisis I was going through. Texts from my diaries of that period on the soundtrack are read by Angus MacLise. TRAVEL SONGS Filmed (1967-81/edited 2003, 28 min, 16mm, silent. Preserved by Anthology Film Archives with support from the National Film Preservation Foundation.) Five different 'songs' or segments: footage from Avila (Spain), Stockholm, Moscow, Assisi, Italy. Brief images, a lot of single frame activity. MT. VENTOUX (2011, 3 min, digital) I am in Provence near Mt. Ventoux. I remember the poet Petrarca walking on Mt. Ventoux and carrying with him a volume of St. Augustine's CONFESSIONS, transcribed by hand, and reading it… on Mt. Ventoux… It's my meditation in honor of Petrarca. Total running time: ca. 75 min.

11/16
San Francisco: Other Cinema
 <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=743e6d6478&e=f36020cad0> http://www.othercinema.com/
8:30, 992 Valencia Street
MEDIA ARCHEOLOGY2: OPTRON3
NOV.16: BRIAN DARR + SYLVIA SCHEDELBAUER + APHID + X73 We celebrate the diversity of means of personal expression in our lo-fi media landscape! OC fave Brian (Hell On Frisco Bay) Darr deploys 35mm slides, 16mm clips, VHS tapes, Glenn Waite’s home-made analog synth, and bits of Thom Andersen/Noel Burch’s Red Hollywood to tell the tale of Hollywood 10 victim Abraham Polonsky’s Force of Evil, a noir critique that turns on emerging surveillance themes. In from Berlin, trans-national kino-collagist Sylvia Schedelbauer’s Memories is an amateur b/w photo retrospective spun from a shoebox of family snapshots from mid-century Germany. In the Antikytheran Mechanism, X73’s David Cox, John Smalley, and Rachel Levin weave together vocals, video, film, and music to rhapsodize on the Aegean Sea discovery of that ancient Greek astronomical clock that could forecast solar eclipses. Abram (Aphid) Stern fast-forwards though this history of thinking machines to the new mode of “generative-video” with his Unburning show’n’tell, operating on FBI aerial footage of the 2015 Baltimore Uprising to reveal hidden data-overlays “burned in” by the Bureau’s infrared sensors.*$9


SUNDAY, NOVEMBER 17, 2019

 

11/17
Los Angeles, California: Filmforum
 <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=447bc20ebe&e=f36020cad0> http://www.lafilmforum.org/
1:00 pm, TCL Chinese Theatre
SOUTH OXFORD, ALL IOWA LAWN TENNIS CLUB, MARAVILLA, SERVE
Filmforum co-hosts the following at AFI Fest, http://fest.afi.com South Oxford, All Iowa Lawn tennis Club, Maravilla, Serve By Darius Clark Monroe USA, 2019, Feature Documentary, 46 min. Screening: Saturday, November 16 @ 9:00 pm, Chinese 5 Sunday, November 17 @ 1:00 pm, Chinese 5 https://fest.afi.com/2019/short-films-2019/south-oxford-all-iowa-lawn-tennis-club-maravilla-serve Filmmaker Darius Clark Monroe returns to the screen with a series of intimate nonfiction shorts exploring America’s culture and passion for tennis and handball. Four stories, warmly crafted with both archival and original materials, illustrates the great humanity of society and the powerful, soulful bond we experience through sports. Richard Northern and his wife reflect on owning a tennis club for almost two decades in Brooklyn. In Iowa, Mark Kuhn shares his story of building a grass-court on their farmland and what their passion project means after the family is struck by tragedy. An East LA handball court creates an unexpected community amongst political and social turmoil. A woman cares for her elderly mother while passionately coaching students on the court. Their stories, warmly crafted with both archival and original materials, illustrates the great humanity of society and the powerful, soulful bond we experience through sports. Darius Clark Monroe (BLACK 14, RANDOM ACTS OF FLYNESS, EVOLUTION OF A CRIMINAL) is a writer, producer and director. Monroe’s collective work has screened at SXSW, BAMcinemaFest, Full Frame, BlackStar, MoMA, Whitney Museum, Palm Springs, Sundance, True/False, New Directors, AFI FEST, Tribeca, Telluride, Tokyo and Uppsala and appeared on HBO, PBS, Netflix, and at innumerable galleries, schools, churches, backyards, and hotel banquet halls. Monroe was born/bred in Houston and lives in BedStuy, BK.

11/17
Montrèal: VISIONS
 <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=bfecc94b91&e=f36020cad0> http://www.visionsmtl.com
20H, la lumière collective [7080, rue Alexandra, #506, Montréal]
VISIONS: FILIPA CÉSAR | 17.11.19 | SPELL REEL
​Filipa César was born in Portugal in 1975 ; she lives and works in Berlin. She studied at the University of the Arts in Porto and Lisbon, at the Academy of the Arts in Munich and obtained a master’s in Context at the University of the Arts in Berlin (2007). Her work interrogates the porous relation between the animated image and its reception by the public. || Filipa César est née au Portugal en 1975 ; elle vit et travaille à Berlin. Elle a étudié à la Faculté des Arts de Porto et de Lisbonne, à l’Académie des Arts de Munich et a obtenu le Master Art in Context de l’Université des Arts de Berlin (2007). Son travail interroge la relation poreuse entre l’image animée et sa réception publique. Tickets $7

11/17
New York, NY: Anthology Film Archives
 <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=cb25d6f15c&e=f36020cad0> http://www.anthologyfilmarchives.org/
5:30 PM, 32 Second Avenue
JONAS MEKAS, PROGRAM 5: THE EDUCATION OF SEBASTIAN OR EGYPT REGAINED
THE EDUCATION OF SEBASTIAN OR EGYPT REGAINED (1992, 228 min, digital) A video record of a mental and physical journey through 5,000 years of Egypt at the End of History; an attempt to reconnect with the Source, with Jean Houston acting as Virgil; as Sebastian watches and absorbs it all from the corner of his eye, focusing on the tip of the Great Pyramid. All very personal, and it goes on and on, perhaps of very little meaning to others, but of crucial importance to myself, a record not for Entertainment or Public Exhibition, but something to share with friends, one long evening. Maybe there is a letter to my friends about a very crucial journey back to Ithaca - and a present for Sebastian, something that he'll rediscover when he'll be approaching the age when I, Odysseus, began my own travels - this may serve him as a beginner's map - the Fates will give him better ones.

  _____  

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