[Frameworks] Festival of (In)appropriation online this weekend; Other online events

Thu Aug 20 21:55:33 UTC 2020

       Festival of (In)appropriation; Other online events

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  The Festival of (In)Appropriation #9 Online
This Weekend, Q&A on Saturday

  Somebody was Trying to Kill Somebody Else by Benjamin Verhoeven

  Friday-Sunday, Aug 21-23, 2020
Northwest Film Forum and Los Angeles Filmforum present
The Festival of (In)appropriation #9
Online 
Q&A discussion on Saturday Aug 22, 6 pm PST online with Curators Jaimie
Baron, Lauren Berliner, and Greg Cohen with filmmakers Roger Beebe, LJ
Frezza, Tony Gault, Deborah Kelly, Kevin McCarthy, Ryan Murphy, Tasman
Richardson, Tina Takemoto, and Yunjin Woo !

Tickets: Sliding Scale, available at
https://nwfilmforum.org/films/festival-inappropriation-9-encore-online/
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More info on our website at www.lafilmforum.org
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Whether you call it collage, compilation, found footage, détournement, or
recycled cinema, the incorporation of already existing media into new
artworks is a practice that generates novel juxtapositions and new meanings
and ideas, often in ways entirely unrelated to the intentions of the
original makers. Such new works are, in other words, “inappropriate.” This
act of (in)appropriation may even produce revelations about the relationship
between past and present, here and there, intention and subversion, artist
and critic, not to mention the "producer" and "consumer" of visual culture
itself. Fortunately for our purposes, the past decade has witnessed the
emergence of a wealth of new audiovisual elements available for
appropriation into new works. In addition to official state and commercial
archives, resources like vernacular collections, home movie repositories,
and digital archives now also provide fascinating material to repurpose in
ways that lend it new meaning and resonance.

Founded in 2009 and curated by Jaimie Baron, Lauren Berliner, and Greg
Cohen, the Festival of (In)appropriation is a yearly showcase of
contemporary, short (20 minutes or less), audiovisual works that appropriate
existing film, video, or other media and repurpose it in “inappropriate” and
inventive ways. This year’s program features an astonishing variety and
complexity of moving-image appropriation art, including a riotous YouTube
reaction video mash-up, an exquisite found-footage ready-made, a
queer-Asian-American homage to Hollis Frampton, several sublime works of
cut-out animation, and a pseudo-documentary (or is it?) about the lost work
of an early-Soviet scientist dedicated to the exploration of “human mental
projection.”

Visit the Festival of (In)appropriation at
https://festivalofinappropriation.com/
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Screening:

Lying Women by Deborah Kelly (Australia, digital video, color, sound 2016,
03:56)
“The stop motion animation Lying Women attends both to printed art’s
material qualities and its ideological freight. As a high school student in
70s Melbourne, my primary exposure to art history was through the pages of
books. I studied the western canon at a triple remove: as a girl, as an
antipodean girl, as an antipodean girl who had never seen the paintings
except as printed papers’ cheap approximations of European glory. Lying
Women imagines canonical reclining nudes’ escape from centuries of servitude
to a worldview in which decorative passivity is their whole purpose. The
work proposes a great gathering of queer female energy, a revolution, a
collective will to autonomy.” (Deborah Kelly)

Semiotics of Sab by Tina Takemoto (USA, digital video, b/w, sound, 05:35)
“An oblique portrait of gay Japanese American actor Sab Shimono, whose work
on stage and screen spans more than five decades. The grammatology of his
career attests to conflicting lexicons of race, representation, and
selfhood.” (Tina Takemoto)

Halimuhfack by Christopher Harris (USA, 16mm transferred to digital video,
color, sound, 2016, 4:00)
“A performer lip-synchs to archival audio featuring the voice of author and
anthropologist Zora Neale Hurston as she describes her method of documenting
African American folk songs in Florida. By design, nothing in this film is
authentic except the source audio. The flickering images were produced with
a hand-cranked Bolex so that the lip-synch is deliberately erratic and the
rear projected, grainy, looped images of Masai tribesmen and women recycled
from an educational film become increasingly abstract as the audio
transforms into an incantation.” (Christopher Harris)

Take Me to Pemberley by Daniela Zahlner (Austria, digital video, color,
sound, 2015, 02:00)
“Mr. Darcy: The synonym for the romantic hero since 1813, as he first
appeared in Jane Austen‘s novel Pride and Prejudice. The book had several
movie adaptations (especially prominent [were those from] 1940, 1995 and
2005), which not only inscribe Darcy’s character in popular culture, but
also illustrate our capitalist notions of love and desire, as well as a wish
for escapism into a pre-industrialized, pre-virtualized world. I, too, fell
for Mr. Darcy. Thanks to my webcam and Photo Booth, I can finally have my go
[at] winning him over.” (Daniela Zahlner)

Every Feature Film On My Hard Drive, 3 Pixels Tall and Sped Up 7000% by Ryan
Murray (USA, digital video, color, sound, 2013, 3:29)
“Every Feature Film On My Hard Drive, 3 Pixels Tall and Sped Up 7000% is
comprised of 240 Hollywood movies running simultaneously, squeezed into a
single frame and a 3.5 minute runtime. This work highlights the mass amount
of media that we have at our fingertips and creates an abstraction of the
color and duration of cinema.” (Ryan Murray)

Actual Case History by Tony Gault (US, 16mm transferred to digital video,
color, sound, 2015, 09:00)
“Rotoscope animation reshapes a found film into an examination of ‘the
vague, indefinite fears which keep growing in our minds.’” (Tony Gault)

Official Teaser #2 Reaction!!! by Kevin McCarthy (US, digital video, color,
sound, 2016, 6:30)
“When the second teaser for THE FORCE AWAKENS comes out, a STAR WARS
agnostic tries in vain to embrace the zeitgeist, joining superfans to create
his own lukewarm trailer reaction video mashup.” (Kevin McCarthy)

Sneeze by Yunjin Woo (USA, 16mm/found footage transferred to digital video,
color, sound, 2015, 05:11)
“Sneeze explores the stigmatized symptom of common cold—the involuntary
expulsion of air and bodily fluid—as an allegory of social ruptures that
might mediate infectious resistance. Mixing the Cold War era’s educational
film footage promoting personal hygiene as a ‘war against germs’ with images
of explosive creation, this film aesthetically subverts the uniquely modern
fantasy of separation and isolation of the ‘healthy’ from the ‘ill’.”
(Yunjin Woo)

A Place I’ve Never Been by Adrian Flury 
(Switzerland, digital video, color,
sound, 2015, 04:40)
“By sourcing multiple digital images of the same place from different
archives, this experiment in film makes use of frame by frame montage to
discover hidden forms, patterns and references, thereby giving new meaning
to the prevailing redundancy of these pictures.” (Adrian Flury)

[sic] series by Roger Beebe (US, 16mm transferred to digital video, color,
sound, 2014, 04:25)
“Three perfect fragments, presented exactly as found.” (Roger Beebe)

Somebody was Trying to Kill Somebody Else by Benjamin Verhoeven (Belgium,
digital video, color, sound, 2014, 06:11)
“Part of an ongoing project called Scanning Cinema [that consists] of
scanning moving images by using a flatbed scanner and a monitor and putting
them back into an animated film. The inversions [produced by this] method
(the physical action of scanning) [generate] a new language like a disturbed
echo from the photographic reviving of moving images. […] The fragments …
used [here] are a re-montage of Michelangelo Antonioni’s Blow-Up, [while]
the original soundtrack of Herbie Hancock has undergone the same process as
the images. The movie consists of 10,000 scans put together in a stop-motion
film.” (Benjamin Verhoeven)

Cut Out by Guli Silberstein (Israel/Palestine, digital video, color, sound,
2014, 04:19)
“A radiant, energetic girl is shouting and punching the empty space in front
of her. She is roughly cut out from her surroundings by a computer algorithm
struggling to contain her. Her enemies are rubbed off the frame, sound is
removed and music added, emphasising her anguish and anger. Is she real? Is
she a dream? Gradually, more fragments of the scene are revealed, and the
context is made clearer. The video-processing highlights the documented
scene as image, both of a fight for freedom, and a media event.” (Guli
Silberstein)

Ectoplasmik Vision by Ricardo Salvador (Spain, Super-16mm transferred to
digital video, b/w & color, sound, 2016, 09:40)
In 1965, the compendium of an earthly life devoted to scientific research
was found in Kresty prison of Leningrad, encrypted in twelve vinyl records
printed with stroboscopic images and hypnotic sounds, labeled with the name
“HK320.” Ektoplasmic Vision tells the story of Dr. Joseph H. Stanislaw, a
mad scientist of dubious provenance, who claimed to be a Nephilim (half
human half demon). During his earthly passage (1888-1944), Dr Stanislaw
investigated the human mental projection, and designed his own devices to
print and reproduce on “Ektoplasmic film” the images created by the spheres
of mind. Ectoplasmik Vision is the documentary promotion along with the
official trailer for Hermetica Komhata HK320, a retro Sci-fi film, 90
minutes long, recently produced by Hermética Films.” (Ricardo Salvador)

The Neutral Zone by LJ Frezza (USA, digital video, color, sound, 2015,
06:40)
“A survey of the utopias featured in Star Trek: The Next Generation
(1987-1994). Some of the structures that constrain and produce our
understanding of possible futures.” (LJ Frezza)

Doppelgänger by Tasman Richardson (Canada, digital video, b/w & color,
sound, 2016, 14:25)
“Imperfect reflections, simulations, and recordings, sampled from cinema,
vhs, and finally total signal failure. Originally performed live as a dual,
parallel projection (mirrored). All sounds are from the source clips.
harmonies and rhythms are achieved with complex combinations of temporal
warping and editing of the video source.” (Tasman Richardson)

----------------------
Jaimie Baron (Festival Director) Jaimie Baron is an Assistant Professor of
Film Studies at the University of Alberta. Her work on documentary,
experimental film and video, audiovisual appropriation, and digital media
has been published in numerous journals and anthologies. Her first book, The
Archive Effect: FoundFootage and the Audiovisual Experience of History, was
published in 2014. She is also a co-founder of Docalogue, an online space
for scholars and filmmakers to engage in conversations about contemporary
documentary.

Lauren S. Berliner is an Assistant Professor of Media & Communication and
Cultural Studies at University of Washington Bothell. Her research focuses
on participatory media production practices, gender and sexuality, and
pedagogy. Also a filmmaker, she has screened her work internationally and
has facilitated video production programming for girls and queer youth. She
earned her PhD. in Communication from UC San Diego, an MA in Visual and
Media Art from Emerson College, and a BA in English and Anthropology from
Wesleyan University.

Greg Cohen is an artist, Associate Programmer at Los Angeles Filmforum, and
Lecturer in Latin American Cinema and Visual Culture at UCLA. His work in
video, photography, and multi-media installation has been exhibited
nationally and internationally, and draws on diverse intellectual and
aesthetic interests, from landscape theory and aesthetic philosophy to
cultural memory and experimental archives, and from the history and theory
of architecture to the intersections of moving-image media and radical
politics. As a founding associate of REASArch (group for Research on
Experimental Accumulation and Speculative Archives), Cohen has also produced
The Valaco Archive, an ongoing visual research project
(https://valacoarchive.com), parts of which were recently featured in Limn
magazine (http://limn.it/).

Roger Beebe is a filmmaker whose work since 2006 consists primarily of
multiple projector performances and essayistic videos that explore the world
of found images and the "found" landscapes of late capitalism. He has
screened his films around the globe at such unlikely venues as the CBS
Jumbotron in Times Square and McMurdo Station in Antarctica as well as more
likely ones including Sundance and the Museum of Modern Art with solo shows
at Anthology Film Archives, The Laboratorio Arte Alameda in Mexico City, and
Los Angeles Filmforum among many other venues. Beebe is also a film
programmer: he ran Flicker, a festival of small-gauge film in Chapel Hill,
NC, from 1997-2000 and was the founder and Artistic Director of FLEX, the
Florida Experimental Film Festival from 2004-2014. He is currently a
Professor in the Department of Art at the Ohio State University.

LJ Frezza is a proletarian filmmaker with no equity. He makes movies for
free that you can watch for free.

Tony Gault is working on a film about language and how it affects our
perception of reality.

Deborah Kelly's works have been shown around Australia, and in the biennials
of Singapore, Sydney, Thessaloniki, TarraWarra, Cementa and Venice. Her
projects across media are concerned with lineages of representation and
practices of collectivity from intimate to epic. Kelly’s work has been
exhibited at the MCA and the AGNSW in Sydney, MOMA PS1 in NYC, the ICA in
London, the Hammer Museum in LA and the Pera Museum in Istanbul. In December
2019 she participated in the Fotogenia Festival in Mexico City (and won the
festival prize) and was the first international artist in residence at the
Wellcome Trust in London.

Kevin McCarthy's non-fiction films have screened at film festivals
internationally. He teaches film and audio production as a member of the
faculty at Fitchburg State University in Central Massachusetts.

Ryan Schmal Murray creates conceptually-driven artwork that combines digital
and physical media. His work addresses the search for moments of meaning by
turning pop-culture media/technology on itself and transforming everyday
objects and experiences into subtle psychedelia.  Murray was born in
Pittsburgh, PA. He received his BFA from Carnegie Mellon University and his
MFA from the University of Illinois at Chicago. His artwork has been
exhibited internationally in galleries, museums, and film festivals
including the New York Film Festival: Convergence, Antimatter [Media Art],
and the Chicago Underground Film Festival. He was the recipient of a 2016
Maryland State Arts Council Individual Artist Award for Digital Media.
Murray lives in Baltimore, MD and serves as an Associate Professor of
Electronic Media and Film at Towson University.

Tina Takemoto’s experimental films explore hidden dimensions of same-sex
intimacy in Asian American history. Takemoto has exhibited widely and
received grants from Art Matters, ArtPlace, Fleishhacker Foundation, Lucas
Artists Program, and San Francisco Arts Commission. Takemoto was awarded
Grand Jury Prize for Best Experimental Film at Slamdance and Best
Experimental Film Jury Award at AGLIFF. Screenings include Ann Arbor,
Anthology Film Archive, BFI Flare, CAAMfest, Outfest, Queer Forever!
(Hanoi), and Xposed Queer Film Festival (Berlin).

  Halimuhfack by Christopher Harris, part of the Festival of
(In)Appropriation #9, this weekend online!

  One advantage of virtual screenings is that you can attend a show anywhere
in the world!   
There are no end of online experimental and documentary film viewing
resources now available.  I’m listing some below, and have added more since
our last email.  You can find plenty more.

A few online events we'd like to highlight:

2020 Outfest Los Angeles
August 20-30!
Watch and stream the 2020 Outfest Los Angeles films, showcases,
conversations, and live events on Outfest Now for one low price over 11
days. Films are released daily and remain available for 72 hours. The pass
also includes a one-year subscription to Outfest Now, our new exclusive
streaming destination. Get your
All-Access Passes now: OutfestLA2020.com

Including a Drive-In Series!
Join Outfest August 21-23 and August 28-30 for the 2020 #OutfestLA
Drive-in series, a socially distant drive-in experience, located at the
stunning Calamigos Ranch & Resort in Malibu, CA. We will be featuring an
incredible Outfest program of International and US premieres in HD
projection with food and beverage packages available. ⏩ OutfestLA2020.com

Filmforum is the Community Sponsor of
If It Were Love (Si C'était De L'amour)
France | 2020 | English, French, Swedish, German with English subtitles
Available as of 12:00 AM PT August 22nd for 72 hours or until viewership
limit reached.
https://www.outfestnow.com/videos/if-it-were-love-si-c-etait-de-l-amour
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Filmforum has been given twenty-five (25) complimentary passes! Please email
us at lafilmforum at yahoo.com with your First Name, Last Name, and Email
Address, and we will receive the access password from Outfest.
If It Were Love (Si C'était De L'amour)
Winner of the Best Documentary Teddy Award at the 2020 Berlinale, director
Patric Chiha's film is a fluid, experiential journey through the development
of French choreographer Gisèle Vienne's dance piece “Crowd”. Set in a '90s
era, queer-abundant rave scene, Vienne's multi-narrative choreography blends
meticulously chosen movement with layered character work on the part of her
dancers. Not content to contain the story to the stage, Chiha's probing
camera also grants access into the dancers' personal lives and psyches,
resulting in an intoxicating, one-of-a-kind blurring of fantasy and reality.

San Francisco Cinematheque
presents
CROSSROADS 2020
streaming live August 21–29
www.sfcinematheque.org
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84 works of film and video
71 artists representing 22 countries and territories
9 programs streaming streaming live
Join us Friday for Ever Westward: Remembering Bruce Baillie and every
evening through August 29 (7pm PST) to get the fully immserive CROSSROADS
experience.
A different program every night!

all programs streaming from our online livestream screening room at
http://sfcinematheque.org/festival/crossroads-2020/livestream
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full festival line-up:
http://sfcinematheque.org/festival/crossroads-2020/
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Can’t make it? Don’t have the time? All programs available on a
view-when-desired basis August 30–September 30. It's all happening at
www.sfcinematheque.org.

All 2020 CROSSROADS are presented online and FREE to the public.
DONATIONS IN SUPPORT OF OUR WORK ARE GREATLY APPRECIATED
CROSSROADS 2020 FEATURED FILMMAKERS
Faith Arazi | Bruce Baillie | Stephanie Barber | Jon Behrens | Orit
Ben-Shitrit | Michael Betancourt | Giuseppe Boccassini | Emily Chao | Gloria
Chung | Olivia Ciummo | Charlotte Clermont | Colectivo los ingrávidos |
Susan DeLeo | Francisca Duran | Carl Elsaesser | Zachary Epcar | Kevin
Jerome Everson | Courtney Fellion | Siegfried A. Fruhauf | Brittany Gravely
| Karissa Hahn | Mike Hoolboom | Sky Hopinka | Hua Xi Zi | Onyeka Igwe |
Youngzoo Im | Martina Hoogland Ivanow | Silvestar Kolbas | Kamila Kuc |
Moira Lacowicz | Kerry Laitala | Matthew Lax | Phillip Andrew Lewis | Simon
Liu | Diana Sánchez Maciel | Jodie Mack | J.M. Martínez | Carleen Maur |
Jesse McLean | Gregorio Méndez | Frédéric Moffet | Meredith Moore |
Madeleine Mori | Jeremy Moss | Tomonari Nishikawa | Naween Noppakun | Lydia
Nsiah | Laura J. Padgett | Zack Parrinella | Nisha Platzer | Luther Price |
Miko Revereza | Michael Robinson | Margaret Rorison | Lynne Sachs | Rajee
Samarasinghe | Talena Sanders | Linda Scobie | Anna Cecilia Seaward | Anne
Lesley Selcer | Wenhua Shi | Eeva Siivonen | Jean Sousa | Giuseppe Spina |
Deborah Stratman | Natalie Tsui | Douglas Urbank | Bruno Varela | Calum
Walter | Kit Young | Leonardo Zito

UCLA Celebration of Iranian Cinema: Coup 53
Wed August 19, 2020 - 6:00 pm
https://www.cinema.ucla.edu/events/2020/08/19/coup-53
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UCLA Film & Television Archive and Farhang Foundation are pleased to present
filmmaker Taghi Amirani’s groundbreaking new documentary Coup 53 as part of
the Virtual Screening Room. Coup 53 will be available for streaming through
our unique link on August 19, 2020 at 6 p.m. You will have 24 hours to
finish watching.
Admission is $12 and a portion of your purchase will support the Archive’s
public programs. Admission also includes an exclusive Q&A with actor Ralph
Fiennes and filmmakers Taghi Amirani and Walter Murch, which will be
available on August 20.

Coup 53  (2019, Color, in English and Persian with English subtitles, 122
min.)
In August 1953, the democratically elected government of Iranian prime
minister Mohammad Mosaddegh was overthrown in a coup that changed forever
the course of history in Iran and shook international relations around the
globe. Director Taghi Amirani and Academy Award-winning editor Walter Murch
bring archival footage, eyewitness accounts and reenactments together to
reveal the secret history of that fateful four-day event with riveting
suspense and a renewed sense of urgency. Declassified reports and
long-suppressed interviews shed new light on the planning of the coup,
including the heavy involvement of U.S. and British intelligence services.
Moreover, Amirani makes the case that the perceived success of the operation
by those services at the time established the disastrous template for an
interventionist foreign policy that continues to this day.
Director: Taghi Amirani. Screenwriter: Taghi Amirani, Walter Murch. Cast:
Ralph Fiennes, Murch, Amirani.

Filling the Void: Confronting Ableism in the Art Space
Panteha Abareshi at the ICA LA
Aug 22-23, 2020, 3-5 pm each day
https://www.theicala.org/en/events/249-filling-the-void-confronting-ableism-
in-the-art-space 
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Artist Panteha Abareshi confronts the complex systems of ableism that
operate within the art space. With two consecutive sessions in the Field
Workshop, Abareshi will foster a much-needed dialogue around
misunderstandings of the disabled body and its exclusion in cultural spaces.
She will begin with presentations from the disabilities perspective and open
up the discussion.

August 22: Abareshi examines accessibility in museums to discuss the
prevalence of ableism in the architecture, curation, and critical
discussions of contemporary art that affirm prevailing systems of inequity.
What does accessibility truly look like in the art space? Where is change
immediately possible through programs, education, and language? How does one
reverse the resistance to and ignorance around disabilities in the cultural
landscape?

August 23: Abareshi opens the discussion of disability in art practices and
the importance of the embodied disabled experience. The audience will be
introduced to the work of several ill/disabled artists as well as Abareshi’s
own work which addresses ableism. How are able-bodied artists and the art
world perpetuating an erasure of artists and audiences with disabilities?
Participation is welcomed and greatly encouraged. 15 seats will be available
within the physical space at ICA LA and additional access will be available
online via Google Meet.
This program will have Closed Captioning and will be recorded.

Panteha Abareshi‘s work is rooted in her existence as a chronically
ill/disabled body existing with multiple medical illnesses, at the root of
which is sickle cell zero beta thalassemia—a genetic blood disorder that
causes debilitating pain, and bodily deterioration that both increase with
age. Through her work, she aims to discuss the complexities of living within
a body that is highly monitored, constantly examined, and made to feel like
a specimen. Taking images that are recognizable as “human” forms and
reducing them to the gestural is a juxtaposition of her own body’s
objectification, and dissection. Through her performance work, she pushes
her body to, and often beyond, the limits of its ability. The radicalized
abjectification of her own corporeal form allows for a continued examination
of her bodily deterioration, and its connection to a larger context of
universal fragility fear, pain and mortality. In her video work and
installations, she aims to make the viewer hyper-aware of their own body and
actively employ accessibility as a tool, both withholding and over-extending
it as a means of casting light onto the ill/disabled experience.

Chicano Moratorium 50th Anniversary (1970-2020)
August 24, 2020 - 4:00 pm
UCLA Film & Television Archive
Streaming online, free
https://www.cinema.ucla.edu/events/2020/08/24/chicano-moratorium-50th-annive
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On August 29, 1970 in East Los Angeles, a peaceful march of over 20,000
Chicanas/os, united in protest against the Vietnam War as part of the
National Chicano Moratorium movement, was violently interrupted by an
extreme, unjustifiable response by law enforcement. The tragic events of
that day left four dead, including prominent Mexican American journalist
Ruben Salazar (killed under suspicious circumstances by a Los Angeles
Sheriff Deputy’s tear gas projectile). In recognition of the 50th
anniversary of the historic march, UCLA Film & Television Archive, in
partnership with the UCLA Chicano Studies Research Center, presents a
chronological selection of short works examining pivotal moments of activism
in East Los Angeles—from the student walkouts for equal educational
opportunities of 1968 to the Chicano Moratorium of 1970. Further
contextualized by the words of Ruben Salazar, via excerpts of interviews
taped the year he was murdered, our program hopes to illuminate this crucial
period of the Chicano Civil Rights Movement and the bravery and sacrifice of
a unified community that dared to pursue social justice in the face of
institutional neglect and police violence.

Hosted by Chon Noriega, director, UCLA Chicano Studies Research Center and
author of Shot in America: Television, the State, and the Rise of Chicano
Cinema. Noriega will moderate a post-screening discussion with artist,
writer and educator Harry Gamboa Jr. and Los Angeles Times staff writer
Carolina Miranda. Program curated and notes written by Mark Quigley, John H.
Mitchell Television Archivist.
Total screening runtime: approx. 45 min.

Happy Viewing!  Hoping to see you all in person soon.

  Los Angeles Filmforum screenings are supported by the Los Angeles County
Board of Supervisors through the Los Angeles County Department of Arts &
Culture and the Department of Cultural Affairs, City of Los Angeles; the
Academy of Motion Picture Arts & Sciences, The California Community
Foundation with the Getty Foundation, and the Wilhelm Family Foundation. We
also depend on our members, ticket buyers, and individual donors.

Los Angeles Filmforum is the city’s longest-running organization dedicated
to weekly screenings of experimental film, documentaries, video art, and
experimental animation. 2020 is our 45th year.

Memberships available, $75 single, $125 dual, or $40 single student
Contact us at lafilmforum at yahoo.com.
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