[Frameworks] This Week in Avant Garde Cinema: April 30 - May 8, 2022
This Week
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Sat Apr 30 16:22:50 CDT 2022
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*This Week [April 30 - May 8, 2022] in Avant Garde Cinema*
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*DEADLINES APPROACHING*
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___________________________________________________________________________________
*sorted by submission deadline*
Ongoing Films for Ukrainian Border Crossings
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(No Dialogue + PG)
04.30.2022 Antimatter [media art]
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(Early Deadline)
04.30.2022 Analogica
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(Regular Deadline)
04.30.2022 Istanbul International Experimental Film Festival
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(Late Deadline)
04.30.2022 Ecologies & Cosmologies Residency
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04.30.2022 non-syntax Experimental Image Festival
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(Early Deadline)
05.13.2022 Arcus Project Residency
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05.15.2022 VSW Project Space Residency
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05.15.2022 Sharjah Film Platform
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05.16.2022 Edinburgh Short Film Festival
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(Regular Deadline)
05.20.2022 Coney Island Film Festival
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(Late Deadline)
05.20.2022 New Orleans Film Festival
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(Late Deadline)
05.31.2022 25 FPS Festival
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05.31.2022 Ji.hlava International Documentary Film Festival
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(2022 Films)
05.31.2022 Interbay Cinema Society Lightpress Grants
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06.01.2022 Engauge Experimental Film Festival
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06.03.2022 New York Film Festival
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06.06.2022 Southwest Seen Commission & Exhibition
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06.10.2022 Fisura, International Festival of Experimental Film and Video
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(Early Deadline)
06.14.2022 VIDEONALE.19 – Festival for Video and Time-Based Arts
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(Early Deadline)
06.15.2022 Revolutions per Minute Festival
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(Extended Deadline)
06.15.2022 Imagine Science Film Festival
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(Regular Deadline)
07.31.2022 San Diego Underground Film Festival
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(Regular Deadline)
*EVENTS*
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*complicated sorting but a true attempt, enjoy!*
This week's programs (summary):
- Jonas Mekas 100!
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[November
1, 2021-January 25, *2023*, worldwide]
- seen only, heard only through someone else’s description
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[March
5-April 30, San Francisco, CA]
- Early Blossoms/Perilous Thirds
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[March
26-May 7, Baltimore, MD]
- Jodie Mack: Matter Matters
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[March
29-June 19, Rochester, NY]
- aCinema: KIRISAME
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[April 1-30, online]
- I Am Here: Home Movies and Everyday Masterpieces
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[April
13-August 14, Toronto, Canada]
- Barbara Hammer's My Babushka: Searching Ukrainian Identities
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[April
23-May 30, online]
- Ieva Balode. Loop of Fear. Solo Show
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[April
30 - June 12, Riga, Latvia]
- Psycho-Geo3: Southwest
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=6fa7b3c446&e=857b71a9cb>[April
30, San Francisco, CA]
- EC: Walden (Diaries, Notes, and Sketches)
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[April
30, New York, NY]
- Reversing Reversal: A Filmmaking Workshop
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[May
1, Oakland, CA]
- Southern Climes: Films From AFW Melbourne
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[May
1, Oakland, CA]
- Stan Brakhage's Dog Star Man
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[May
1, Los Angeles, CA]
- Call of the Wild
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[May
2, New York, NY + online]
- the latent image: Print Generation [May 3, Oakland, CA]
- Film-Makers' Cinematheque: David Wise + Storm De Hirsch
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[May
3, New York, NY]
- EC: Sidney Peterson
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[May
4, New York, NY]
- Between A Flower and A Bomb: Latin American Short Films
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[May
5, Berkeley, CA]
- Sonic Cinema: Austrian Synaesthetic Cinema
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[May
6, London, UK]
- The 50th Anniversary of Collectif Jeune Cinéma Second Part
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[May
6, Paris, France]
- Imageless Films, Part 2
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[May
7-June 2, New York, NY]
- Two Girls by James Fotopoulos
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[May
7, New York, NY]
- Gearwax: Old vinyl, Repurposed
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[May
8, online]
- Robert Haller (1942-2021)
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[May
8, New York, NY]
- The Long Conversation
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[ongoing, online]
- 6x6 Project: Artists' Moving Image Works — Edition Nº 27
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[ongoing,
online]
- Ecstatic Static Screenings
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[ongoing,
online]
*STARTING BEFORE APRIL 30, 2022*
*November 1 - January 25, 2023*
Venue type: *Both physical and online*
Jonas Mekas 100!
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times and locations vary, see below
Event URL: https://jonasmekas100.com/
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*Jonas Mekas 100!*
In 2022, the world and Lithuania celebrate the life and work of Jonas
Mekas, one of the country’s most prominent cultural figures of the 20th and
21st centuries and a global cultural phenomenon in his own right,
considered by many to be the “godfather of avant-garde cinema”.
Throughout his life, Mekas always emphasized and cherished his Lithuanian
roots. After fleeing the foreign occupation of his native land, he arrived
in New York City, in his own words “at exactly the right moment”, joining
thousands of others escaping the devastation wrought by destructive
ideologies and tyrannical regimes in Europe. One might say that Mekas left
one village, his native Semeniškiai in northern Lithuania, and immersed
himself in the life of another – the Village thriving in and around lower
Manhattan, and in its landmark publication, the Village Voice, helping to
shape American and global culture so profoundly in the latter half of the
20th century.
This centennial celebration, Jonas Mekas 100!, seeks to expand global
recognition of his work and encourage a deeper exploration of Mekas’
prolific contributions to cinema, film criticism, cultural organization,
and, in particular, his body of poems and prose, now published in
Lithuanian, French, German, English, Japanese, Hebrew, and many other
languages.
The centennial program features over 50 events in an expanding list of
countries, including: Belgium, Denmark, Finland, France, Germany, Greece,
Israel, Italy, Lithuania, Norway, Poland, South Korea, Sweden, Taiwan,
Ukraine, the United Kingdom, and the United States. The vast scope of
Mekas’ contribution to global cultural is examined through film screenings
and retrospectives, exhibitions, readings, workshops, new publications and
translations of Mekas’ writings, and concerts celebrating the spirit of his
work, among other events.
The centennial program is a joint international collaboration between
leading art and cinema organisations, curators, publishers, the global
network of Lithuanian cultural attachés, the Estate of Jonas Mekas, and the
Lithuanian Culture Institute.
*___________________________________________________________________*
*March 5 - April 30*
Venue type: *Live, physical event*
McEvoy Foundation for the Arts
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Wed - Sat, 11am-6pm PT,
McEvoy Foundation for the Arts, 1150 25th Street, Building B, San Francisco
*seen only, heard only through someone else’s description*
Short films offer new temporal spaces for considering how images and
narratives construct meaning, artifice, and memory.
*seen only, heard only through someone else’s description* engages
filmmakers and artists whose interdisciplinary practices draw from
performance, film, photography, research, and writing. The program’s title
stems from *Audience Distant Relative* (1977) by Theresa Hak Kyung Cha
(1951–1982)—a poem, performance, and mail art piece that uses language to
unravel dynamics of distance, visibility, hearing, and communication.
The program is organized in two sessions of experimental short films by
women and nonbinary artists from the 1970s through the 2010s. *Sometimes We
Stand Alone* explores personal identity and history through experimental
processes and found footage. *Drawing Energy* is concerned with communities
of women and their collective power to document and deeply engage with
artistic, cultural, or familial lineages. The collected works interweave
varied perspectives to probe formal tensions between the moving image and
still photography. *Sometimes We Stand Alone* screens daily from January 14
through March 4, 2022. *Drawing Energy* debuts March 5 and runs through
April 30, 2022.
Guest curated by Gina Basso in conjunction with Image Gardeners, an
exhibition of modern and contemporary photography from the McEvoy Family
Collection.
---- March 5 – April 30, 2022 /// Drawing Energy ----
Ilene Segalove, *Mom in Famous Women*, 1978
sair goetz, *me and my army*, 2017
Deborah Stratman, *Vever (For Barbara)*, 2019
Onyeka Igwe, *Her Name in My Mouth*, 2017
Madeleine Hunt-Ehrlich, *Spit on the Broom*, 2019
Lily Jue Sheng and Rita Ferrando, *Ikebana*, 2020
*___________________________________________________________________*
*March 26 - May 7*
Venue type: *Live, physical event*
Current Space
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various times, see below,
Current Space, 421 N Howard St, Baltimore, MD
*Early Blossoms/Perilous Thirds*
Current Space is proud to present "Early Blossoms/Perilous Thirds." an
exhibition of works by Stephanie Barber, Patrick David, and Josh Dorman;
curated by Andrew Shenker, Michael Benevento, and Julianne Hamilton. Please
join us for the opening reception!
Opening Reception: March 26th, 6-9pm
Exhibition Duration: March 26th – May 7th
Gallery Hours: Fridays & Saturdays, 1-5pm
"The work from these three artists presents questions of the narrative
image, an experience that opens an associative window––what does a line you
once recognized become as it breaks, what does a body?
The conversation arrives in threes, triangulates the snake in the garden
and holds it to the glass.
A symbol contorts to reflect itself in the eye that catches it. To take the
icon out of its rank, the head from its neck, to weigh how small or smooth
the evidence of a hand in the world it creates.
Broken time, things in place, place in things."
- Caroline Preziosi
"\[Shared most of all, perhaps, is a meditative and uncanny mood at the
edge of the sayable, close to oblivion; a dreamlike warmth (and horror).\]"
- Andrew Shenker
*___________________________________________________________________*
*March 29 - June 19*
Venue type: *Live, physical event*
George Eastman Museum
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Tue-Sat,10-5pm + Sun 11-5pm ET,
Multipurpose Hall, George Eastman Museum, 900 East Avenue, Rochester, NY
*JODIE MACK: MATTER MATTERS*
The George Eastman Museum is pleased to present selected experimental
animated films by Jodie Mack (UK, b. 1983), an artist who has developed a
remarkable filmmaking style that provides new perspectives on a variety of
familiar materials. Mack’s subjects often include captivating decorative
objects and vintage, ornate textiles. Her films invite viewers to
contemplate the objects’ significance and the nature of disposability.
Mack often works with a Bolex camera and 16mm film, and her films explode
with dizzying displays of colors, shapes, and patterns. While her mastery
of traditional stop-motion animation technique is highly precise and
sometimes abstract, Mack’s films have a joyful, handmade quality that
radiates humor and human warmth.
The following film descriptions are provided by the artist.
A program of four animated short films. Originally shot in 16mm the films
will be screened digitally in this presentation on a loop (21 min. total)
during museum hours.
*Posthaste Perennial Pattern* (US 2010, 4 min.). Rapid-fire florals and
morning birdsong bridge interior and exterior, design and nature.
*Blanket Statement #1: Home is Where the Heart is* (US 2012, 3 min.).
Discordant dysfunction down to the nitty-gritty.
*Blanket Statement #2: All or Nothing* (US 2013, 4 min.). A battle of
extreme extremes.
*Something Between Us* (US 2015, 10 min.). A choreographed motion study for
twinkling trinkets: costume jewelry and natural wonders join forces to
perform plastic pirouettes, dancing a luminous lament until the tide comes
in.
*___________________________________________________________________*
*April 1 - 30*
Venue type: *Virtual, online event*
aCinema
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streaming 24/7,
Event URL: https://www.acinema.space/current-program
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*aCinema: KIRISAME*
*Chiyo* • Chiemi Shimada • 12 min 39 sec • video
*bakufuu, hinoumi: bomb wind, ocean fire* • Sancia Miala Shiba Nash • 22
min 18 sec • video
aCinema is a monthly exhibition dedicated to the screening of works by
moving image artists from around the globe for audiences during the 9 month
period of September to May. aCinema also organizes a yearly festival
programmed from an open call for works titled, aDifferent festival. Through
the exhibition of artists -- historical and contemporary, emerging and
established -- in curated programs, aCinema creates a platform for artists
of all career statuses to share a common exhibition space.
Through the curatorial themes and independent thoughts expressed within the
works, aCinema hopes to inspire and expand audiences' views of the moving
image, fostering an arts educational space, where audiences are free to
engage in discussion with curators and artists (when present) following the
screenings.
*___________________________________________________________________*
*April 13 - August 14*
Venue type: *Live, physical event*
Art Gallery of Toronto
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during gallery hours,
317 Dundas Street West, Toronto, Ontario
*I AM HERE: HOME MOVIES AND EVERYDAY MASTERPIECES*
>From the earliest cave paintings to TikTok, humans have found creative ways
to document their day-to-day lives. *I AM HERE: Home Movies and Everyday
Masterpieces*, a major new AGO exhibition opening in April of 2022, is a
revealing look at our universal need to capture, share and cherish the
everyday. Featuring lost-and-found home movies from the Prelinger Archives,
alongside celebrated artworks by the likes of David Hockney, Patti Smith,
Claes Oldenburg, Annie Pootoogook, Arthur Jafa and Mary Pratt, as well as
snapshots, photo albums, letters, television, grocery lists, and social
media, *I AM HERE* brings together a broad range of personal records from
different time periods and locales to explore the shared human impulse to
document life as it happens.
Co-curated by Jim Shedden, the AGO’s Manager of Publishing, and Alexa
Greist, AGO Associate Curator and R. Fraser Elliott Chair, Prints &
Drawings, in collaboration with archivist, scholar and writer Rick
Prelinger, the exhibition is a celebration of daily life and human
creativity, replete with music and creative prompts. Among the artworks on
display will be a digital collage of the more than 3000 submissions
received from around the world as part of the AGO’s 2021 Portraits of
Resilience exhibition. The exhibition will be accompanied by a catalogue
co-published by the AGO and DelMonico Books/D.A.P
*___________________________________________________________________*
*April 23 - May 30*
Venue type: *Virtual, online event*
Electronic Arts Intermix
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streaming 24/7,
Event URL: https://fifty.eai.org/video-features/barbara-hammer-my-babushka
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*Barbara Hammer’s My Babushka: Searching Ukrainian Identities*
Electronic Arts Intermix (EAI) and the Estate of Barbara Hammer have made
Hammer’s 2001 personal documentary My Babushka: Searching Ukrainian
Identities available to view through May 30th. As the artist writes, this
timely video “centers on the questions of civil liberties and cultural
differences in a society beginning to open as one woman searches for her
own ethnic roots, identity and family history in Ukraine.”
*My Babushka: Searching for Ukranian Identities*
2001, 53:16 min, color, sound
“The current news is full of Ukraine and the Ukrainians who claim it as
home. However, many people in the world admit they know little of either.
The video, made in 2001, provides a glimpse into the people who were
struggling at that time for identity in a divided and economically
depressed country.
Following her natural curiosity and love of adventure, Hammer went to
Ukraine in 2000 to trace her roots and find family members. As with most of
her work, Hammer wanted to uncover hidden histories, so she sought out
information about anti-Semitism and homophobia among Ukrainians. Hammer
discovered that old political, societal and cultural barriers were
collapsing but without new ways to replace them. Fast forward to 2022 and
we see ruin, death, renewed poverty, and destruction, but we also see
strong people fighting for their country and their future. There will be
many more questions for others to research and art to be made, but we felt
it important to show this film now.”
- Florrie Burke, Spouse and Executor of Hammer Estate
Louky Keijsers Koning, Director, Estate of Barbara Hammer
*SATURDAY, APRIL 30, 2022*
*April 30 - June 12*
Venue type: *Live, physical event*
Latvian National Museum of Art
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Tu-Th 11am-6pm, F 10am-8pm, Sa-Su 10am-5pm (GMT+3)
1 Jaņa Rozentāla laukums, Riga, Latvia
*Ieva Balode. Loop of Fear. Solo Show*
Loop of Fear turns to the subject of fear in society, which is particularly
relevant today, after two years of the pandemic and the current horrors of
the war in Ukraine. Fear has always existed in a variety of gradations and
forms: fear of the unknown, fear of the dark, fear of the enemy, fear of
death. Since the beginnings of mankind fear has been both a driving force
for humanity and a stumbling block. It is an instinctive force that has
made humanity form communities for safety and shelter from the danger that
is lurking in darkness. The fear of death has compelled civilisations to
build temples and for people to dedicate their lives to preparing society
for the afterlife.
Likewise, the medium of analogue photography and analogue cinema, which
Ieva Balode uses in this exhibition, embodies this same fear – the fear to
lose and forget what once took place or was alive. It is the propensity to
make the world immortal, the propensity to freeze time in a capsule for
eternity, which, through the lens of the camera, leaves an instant's
impression on the light-sensitive surface of the film. Here light serves as
a record on the surface of a film, which, by dispelling darkness in the
body of the camera, captures what is in front of it through the glass of
the lens, similar to the human eye.
The exhibition presents 16 mm film loops and spatial image projections.
Their mechanical nature interacts with the architecture of the space to
create a slight sense of alarm, reminding us of the fragility and mortality
of the material world. The exposition gives visitors the opportunity to
become familiar with the photochemical film stock as a kinetic object
which, together with several other analogue projectors, illuminate the
museum's gallery in a different light.
About the artist
Ieva Balode is an artist and analogue film activist who works with analogue
film and image. She earned her BA and MA from the Department of Visual
Communication at the Art Academy of Latvia. Her interest in analogue media
resides in its relationship to nature, memory and human perception. The
artist's works have been exhibited in art galleries Platform, Munich
(2020), Den Frie, Copenhagen (2019), Villa Vassilieff, Paris (2018),
Latvian National Museum of Art (2018–2020), Latvian Museum of Photography
(2018), LCCA Office Gallery, Riga (2016), Daugavpils Mark Rothko Art Centre
(2018), Бükü, Leipzig (2016), 1st Riga International Biennial of
Contemporary Art (2018), Riga Photomonth as well as international film
festivals: Harkat 16mm film festival (India, 2021), 65th International
Short Film Festival Oberhausen (Germany, 2019), KRAAK (Belgium, 2019),
Luminous Void (Ireland, 2018–2019), MIEFF (Russia, 2018), Riga IFF (Latvia,
2017–2021), EFF Process (Latvia, 2017–2021), Kinoskop (Serbia, 2017–2019),
TIFF Wavelength series (Canada, 2017), Zabroffka (Poland, 2013), Oslo
Screen Festival (Norway, 2012) and others.
As a cinema activist Ieva Balode is the founder of Baltic Analog Lab – an
artist collective providing a space and platform for the production,
research and education of analogue cinema. Since 2017 she is also a
director of the Riga-based experimental film festival Process.
*___________________________________________________________________*
Venue type: *Live, physical event*
Other Cinema
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=50c5b7956d&e=857b71a9cb>
8pm PT,
Other Cinema, ATA Gallery, 992 Valencia (@ 21st), San Francisco
*PSYCHO-GEO3: SOUTHWEST*
PLANTE's WITH EARP CAME THE WEST + C/W GEMS +
After the moment of the Gunfight at the OK Corral in late 1881, Wyatt
Earp became famous in his own time. He was already known within the Western
territories as a tough lawman. The gunfight represented the epitome of what
the wild west stood for: good guys against bad guys in a thrilling duel.
The real event was 30 seconds long. The motivations behind it have
complicated details. But Wyatt wanted us to forget all that. He was never
shot in a gunfight and lived into old age. By chance, at a championship
boxing match at the turn of the century, he saw the power of cinema in
action. He decided he could rewrite history through the magic of movies,
hanging out in Hollywood in the 1920s to try to get a movie made about his
life. And it actually worked.The Western theme is set by a rousing
half-hour of classic 16mm C/W tunes, from Gene Autry to Elvis Presley,
from Tex Ritter to Spike Jones. $8.88
*___________________________________________________________________*
Venue type: *Live, physical event*
Anthology Film Archives
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=b192679599&e=857b71a9cb>
6:30pm ET,
32 Second Avenue, New York
*EC: WALDEN (DIARIES, NOTES, AND SKETCHES)*
“Since 1950 I have been keeping a film diary. I have been walking around
with my Bolex and reacting to the immediate reality: situations, friends,
New York, seasons of the year. On some days I shot ten frames, on others
ten seconds, still on others ten minutes. Or I shot nothing. When one
writes diaries, it’s a retrospective process: you sit down, you look back
at your day, and you write it all down. To keep a film (camera) diary, is
to react (with your camera) immediately, now, this instant: either you get
it now, or you don’t get it at all.” –Jonas Mekas
*WALDEN (DIARIES, NOTES, AND SKETCHES)*
by Jonas Mekas
1968-69, 180 min, 16mm
*SUNDAY, MAY 1, 2022*
Venue type: *Virtual, online event*
Shapeshifters Cinema + San Francisco Cinematheque
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11am - 4pm PT,
Shapeshifters Cinema, 567 5th Street Oakland, CA
*Reversing Reversal: A Filmmaking Workshop*
This one-day workshop, led by Paddy Hay, a member of the Melbourne,
Australia-based Artist Film Workshop, will be geared towards anyone
interested in Super-8 filmmaking, and especially for those interested in
learning B&W negative processing for the first time. Participants will
shoot on B&W reversal film, but process as a negative. Why B&W negative? In
a nutshell, it gives greater exposure latitude (especially good for dodgy,
old S-8 cameras) and a faster processing time. Also much safer… no bleach!
(Potassium Dichromate, the essential ingredient of B&W bleach mixture, is a
highly toxic carcinogen.) Various techniques for shooting film and
recording sound will be discussed. The workshop aims to equip participants
with a better understanding of how to approach small-gauge film ideas that
might rely upon sync sound (documentary ideas, for instance). People with
little or zero experience with these mediums are very welcome and
encouraged to participate! Space is limited. Register Now!
This all-day workshop (11am–4pm) will be followed by a 7:30pm
screening—Southern Climes: Films from AFW Melbourne—also presented by Paddy
Hay, of films produced by members of Artist Film Workshop, Melbourne. The
Workshop and screening are ticketed separately. Full screening details here.
*___________________________________________________________________*
Venue type: *Virtual, online event*
Shapeshifters Cinema + San Francisco Cinematheque
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7:30pm PT,
Shapeshifters Cinema, 567 5th Street Oakland, CA
*Southern Climes: Films from AFW Melbourne*
Initiated by filmmakers Richard Tuohy and Dianna Barrie in 2009, Artist
Film Workshop (AFW) is a film collective and not-for-profit organization
which provides access to knowledge and resources for filmmakers and artists
in Melbourne, Australia. AFW holds regular screenings and workshops for
people interested in film or working with sound and vision.
Visiting as part of an epic west coast tour, AFW member Paddy Hay will
present a selection of recent and brand-new 16mm film works produced by
members of AFW. The program reflects the diversity of interests,
methodologies and technologies investigated by AFW members, showcasing a
wide variety of filmmaking styles across forms of abstraction, archival/
found footage, audio-vision and lo-fi documentary. Techniques including
contact and optical printing, DIY cameras and traditional lens-based
photography are among the methods and approaches explored. ALL FILMS TO BE
PRESENTED ON 16MM.
SHAPESHIFTERS CINEMA FILMMAKING WORKSHOP: This screening will be preceded
by an all-day filmmaking workshop—Reversing Reversal: A Filmmaking
Workshop—also presented by Paddy Hay. Workshop details here.
*Valpi* (2019) by Richard Tuohy; 16mm, color, sound, 9 minutes;
*Is Anybody Coming Over to Dinner* (2022) by Audrey Lam;
*Self Portrait With Bag* (2020) by Dianna Barrie;
*Southern Climes* (2018) by Hanna Chetwin;
*4000 Frames from Hobart to Queenstown* (2020) by Ilona Schneider;
*Window* (2020) by Rowena Crowe;
*Fade* (2017) by Callum Ross-Thomson;
*Landing* (2019) by Sabina Maselli;
*Sensor Lights in Flemington* (2022) by Lucas Haynes;
*The Gardens* (2022) by Paddy Hay & Giles Fielke.
TRT: 74 minutes
*___________________________________________________________________*
Venue type: *Live, physical event*
Los Angeles Filmforum
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=e79707db00&e=857b71a9cb>
7 PM PST,
2220 Arts & Archives, 2220 Beverly Blvd, Los Angeles, CA
*Stan Brakhage’s DOG STAR MAN*
Regarded for decades as one of the monumental and iconic works of the
historical American avant-garde, Stan Brakhage’s five-part *Dog Star Man*
remains a defining and radically original work of independent cinema.
Utilizing numerous inventive filmmaking techniques ranging from distortion
lenses, multiple superimpositions, hyperkinetic editing, hand-painting, and
even the physical collaging of materials onto the film strip, *Dog Star Man*
employs a vividly subjective, hypnagogic vision following a mythic man’s
ascent and struggle through the obstacles and vicissitudes of existence.
Images of birth, death, nature, the cosmos, and the psyche gradually
combine and coalesce over the course of the film’s 74 minutes with
increasing intensity and complexity, resulting in a total cinematic
experience that remains unique nearly sixty years after its initial making.
In acknowledgement of Jane Brakhage’s role in Stan’s life and art at that
time, and in pursuit of an enriching contrast with the larger-than-life
shadow that Stan Brakhage casts, *Dog Star Man* will be preceded by Barbara
Hammer’s probing and intimate portrait film from 1974, *Jane Brakhage*. In
Hammer’s film, she frames Jane – through her actions and words – as another
sort of mythic figure, considered as wholly independent from her celebrated
husband, and in deep dialogue with her own identity as wife, mother,
philosopher, and human animal. (Mark Toscano)
*Jane Brakhage*, by Barbara Hammer, 10 min, 1974
*Dog Star Man*, Stan Brakhage, 74 min, 1961-64
Proof of vaccination and mask required, ages 21+
Tickets: $12 general, $8 students/seniors, free for Filmforum members at
https://link.dice.fm/K554483275a9
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*MONDAY, MAY 2, 2022*
*May 2 in person, online thru May 5*
Venue type: *in person and online*
Microscope Gallery
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=666372de91&e=857b71a9cb>
7:30pm ET,
525 West 29th Street, 2nd Floor, New York
Event URL: https://microscopegallery.com/call-of-the-wild/
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*"Call of the Wild," Organized by Sherry Millner & Ernie Larsen*
Works by John Greyson, Jorge Furtado, Birgit Hein, Sherry Millner & Ernie
Larsen, Mosireen Collective, Olga Poliakoff & Yann Le Masson. “Call of the
Wild" is a screening event of six experimental non-fiction films made in
six countries, organized by New York-based artists and curators Sherry
Millner & Ernie Larsen.
The program of works — made between 1961 and 202 features a range of
subject matter and approaches described by the organizers as: "A global
chorus, a lament, the drawings and voices of traumatized boys, a comic
rant, pigs and the poor rooting in a garbage dump, the moon as a migrant
squat, gorillas, birds, and teddy bears. The absolutely crucial moment at
which a mere call suddenly or gradually transforms into a wild unrestrained
demand for freedom ties this highly diverse program of experimental
political nonfiction films together."
Online Tickets will be available from 7:00pm ET on Monday May 2nd at the
link above. The program remains viewable through 11:30pm ET on Thursday May
5.
*TUESDAY, MAY 3, 2022*
Venue type: *Live, physical event*
*the latent image*
8pm PT,
Beauty Supply Arts, Downtown Oakland, CA
*the latent image: Print Generation*
Come join us for a screening of JJ Murphy's *Print Generation* (1974). An
exploration and demonstration of the transformative possibilities of
contact printing 16mm film. Tangible images form and dissolve just as
readily as the depths of color film are revealed. Generational loss occurs
in real time during this feature length film.
Screening with *Down Wind* (1973) by Pat O Neill.
doors at 8 // films at 8:30
donations accepted, notaflof
Beauty Supply Arts
Downtown Oakland
** Please email apparatus.cine at gmail.com
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for the address**
*___________________________________________________________________*
Venue type: *Live, physical event*
Anthology Film Archives
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7:30pm ET,
32 Second Avenue, New York
*FILM-MAKERS' CINEMATHEQUE: DAVID WISE + STORM DE HIRSCH*
March 18, 1969: DAVID WISE
*SHORT CIRCUIT* (1963, 12 min, 16mm)
“*SHORT CIRCUIT* is a compilation of animation experiments conducted by
then 8-year-old David Wise. Wise, who went on to develop the television
series TEENAGE MUTANT NINJA TURTLES, was a prodigious talent. Son of
gallerist Howard Wise, he trained under great artists of the day including
Len Lye and Stan VanDerBeek. *SHORT CIRCUIT* gained international
recognition, and found its filmmaker lecturing at universities and
appearing on television before his age reached into the double digits.”
–EXPLORATORIUM
“David Wise’s movies have nothing to do with education. His work consists
of bits and moments of free creative expression. It is still young and
fragile, but through the names of his teachers (they are no
educationalists, but first-rate artists, such as Len Lye, Francis Lee, Stan
Vanderbeek) one can see budding a private lyrical imagery, a world that is
a small wonderland when you get into it. […] Music had its wunderkinder –
why not cinema? Cinema, too, needs its Mozarts.” –Jonas Mekas, MOVIE
JOURNAL, April 18, 1963
Plus:
David Wise *TRIPLE SPICE* (1967, 20 min, 16mm)
April 15, 1969: STORM DE HIRSCH
*THE COLOR OF RITUAL, THE COLOR OF THOUGHT* trilogy:
*DIVINATIONS* (1964, 5.5 min, 16mm. Preserved by Anthology Film Archives.)
*PEYOTE QUEEN* (1965, 9 min, 16mm. Preserved by Anthology Film Archives.)
*SHAMAN, A TAPESTRY FOR SORCERERS* (1967, 12 min, 16mm)
“This film trilogy…records a psychic event in color, shape and sound.
Voyages into buried continents of the self, exploring out-of-bound areas of
no-time, new space. A journey through the underworld of sensory
derangement, of interior vision, where the inner eye reveals its powers and
the Mysteries are enacted in the Theatre of the Soul. Dedicated to all the
magic makers of the world, to those who enter the atlas of the soul,
rummage through the refuse and flowers of time and weave a talisman for
man’s rebirth in his house of breath.” –FILM-MAKERS’ CINEMATHEQUE notes
“Delicately wrought fantasies combining photographed and brilliantly
hand-painted objects and abstractions.” –Ken Kelman
Followed by:
*CAYUGA RUN* (1967, 18 min, 16mm)
“Film-maker’s almanack. A train named Cayuga makes its run along the
riverbank from New York City to Poughkeepsie via Marble Hill, Spuyten
Duyvil, Yonkers, Dobbs Ferry, Irvington, Tarrytown, Ossining,
Croton-Harmon, Oscawana, and Crugers Landing. Here the eye locks the lens,
registers moments in time and fragmented contemplations in celebration of
the seasons and the river Hudson.” –Storm De Hirsch
Total running time: ca. 85 min.
*WEDNESDAY, MAY 4, 2022*
Venue type: *Live, physical event*
Anthology Film Archives
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8:45pm ET,
32 Second Avenue, New York
*EC: SIDNEY PETERSON*
*THE POTTED PSALM* (1946, 19 min, 16mm)
*THE PETRIFIED DOG* (1948, 19 min, 16mm)
*MR. FRENHOFFER AND THE MINOTAUR* (1949, 21 min, 16mm)
*THE LEAD SHOES* (1949, 17 min, 16mm)
“These images are meant to play not on our rational senses, but on the
infinite universe of ambiguity within us.” –Sidney Peterson
“Sidney Peterson’s work and sensibility are those of a native American
surrealist. Many of his films chronicle the picaresque adventures of a
wacky protagonist and use disjunctive editing strategies to construct new
time and space relations…. But perhaps their best-known feature is the use
of distorted, funhouse mirror-images, which he created by shooting with an
anamorphic lens. […] In his films, he investigates extreme states of
consciousness, and the primary tool of his epistemology of irrationalism is
the photographic image distorted and transformed to register the impact of
those states.” –R. Bruce Elder, IMAGE AND IDENTITY
*THE POTTED PSALM* and *THE PETRIFIED DOG* have been preserved by Anthology
Film Archives through the Avant-Garde Masters program funded by The Film
Foundation and administered by the National Film Preservation Foundation. *MR.
FRENHOFFER AND THE MINOTAUR* and *THE LEAD SHOES* have been preserved by
Anthology with support from the National Film Preservation Foundation.
Total running time: ca. 80 min.
*THURSDAY, MAY 5, 2022*
Venue type: *Live, physical event*
Pacific Film Archive
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7pm PT,
BAMPFA, 2155 Center Street, Berkeley, CA
Event URL:
https://www.sfcinematheque.org/screenings/between-a-flower-and-a-bomb-latin-american-short-films/
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=18c5dc7361&e=857b71a9cb>
*Between a Flower and a Bomb: Latin American Short Films*
In conjunction with the Latin American Studies Association Congress
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=173ca13f98&e=857b71a9cb>,
BAMPFA presents three decades of short Latin American films from the BAMPFA
collection. Cuban filmmaker Santiago Álvarez, a master of the collage film,
paid tribute to the life of Vietnamese leader Ho Chi Minh with *79
Springtimes*. *AAA Are the Three Weapons* by Raymundo Gleyzer and the
Argentine collective Cine de la Base features a letter to the military
junta from journalist Rudolfo Walsh, who was murdered by the Anticommunist
Alliance of Argentine. Bay Area filmmaker Chick Strand often traveled to
Mexico in *Anselmo and the Women* she interwove reflections by Anselmo; his
wife, Adela; and his lover, Cruz.
Screening is part of BAMPFA’s *Out of the Vault *series, funded in part by
the National Endowment for the Arts.
SCREENING:
*79 Springtimes* (1969) by Santiago Álvarez, 16mm, b&w, 25 minutes, from
BAMPFA.
*AAA Are the Three Weapons* (1978) by Raymundo Gleyzer, 16mm, b&w, 17
minutes.
*Anselmo and the Women* (1986) by Chick Strand, 16mm, color, 35 minutes,
from BAMPFA.
Ticket holders are required to provide proof of vaccination for entry
*FRIDAY, MAY 6, 2022*
Venue type: *Live, physical event*
Cafe OTO
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8pm BST,
Cafe OTO, 18–22 Ashwin street, London, UK
*Sonic Cinema: Austrian Synaesthetic Cinema*
Sonic Cinema is thrilled to present an evening of recent films by Austrian
audiovisual artists exploring the boundaries of perception. Through the
concepts of visual music and synaesthesia –a neurological condition that
causes a blending of the senses– these formally adventurous works blur the
boundaries between the visual and sonic arts. From glitching algorithmic
compositions to deconstructions of genre cinema, this programme features
six digital projections by Tina Frank, Siegfried A. Fruhauf, Rainer
Kohlberger, NO1, Peter Kutin & Florian Kindlinger, followed by Billy Roisz’
and Dieter Kovačič’s live A/V performance TWIXT.
Billy Roisz and Dieter Kovačič (TWIXT) will be in conversation with Atau
Tanaka following their performance. Programmed by Oliver Dickens. Supported
by Austrian Cultural Forum London, Radiant Circus, Sixpackfilm and Cafe
OTO. Dedicated to the memory of Louis Benassi and Peter Rehberg.
**** Please note that all of the films in this programme contain flashing
and strobing images *** *
*Frozen Jumper*, Tina Frank, 2020, 7 min
*HEAT*, Peter Kutin, Florian Kindlinger, 2020, 16 min
*Thorax*, Siegfried A. Fruhauf, 2019, 8 min
*ROTOЯ | Sonic Body*, NO1, 2020, 13 min
*not even nothing can be free of ghosts*, Rainer Kohlberger, 2016, 11 min
*Who´s Afraid Of RG**B*, Billy Roisz, 2019, 8 min
*TWIXT*, Billy Roisz & Dieter Kovačič, 45 min, live AV performance
*___________________________________________________________________*
Venue type: *Live, physical event*
Collectif Jeune Cinema
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19PM to 20.30PM GMT+2,
Saint Ouen near To Paris
Event URL:
https://cjcinema.org/agenda/2022/avril/50-years-of-collectif-jeune-cinema-where-is-your-body/
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*The 50th Anniversary of Collectif Jeune Cinéma second part*
In 2021 and 2022, the Collectif Jeune Cinéma celebrates its half-century of
existence. To celebrate it, we invited ourselves in residence at Mains
d'Oeuvres (Saint-Ouen) in order to set up the Collectif Jeune Cinéma's
Temporary Cinémathèque. More than a third of our catalog will be screened
there, at the rate of one screening per week every Friday, and one full
Saturday per month. There will be almost 80 screenings in all, with films
from 2020 to 1943, shown in reverse chronological order, according to their
production date and on their original format. Members of the CJC, all
filmmakers, will welcome you in this space that we hope will be open to
all: that's why the entrance fee is pay-what-you-want. Last program, number
67, will be on the 3 of June with films by Jonas Mekas, Jacques Monory,
Taka Iimura, Jean Genet, Maya Deren.
PROGRAM 62
► *Element* ┃ Amy Greenfield, 1973, 12’, USA (16mm)
► *La Glace et le Fer* ┃ Alain Lithaud, 1976, 6’, France (16mm)
► *Favorable Conditions* ┃ Lowell Bodger, 1973, 15’, USA (16mm)
► *Sleepers*┃ Stuart Pound, 1974, 20’ Great Britain (16mm)
► *Ce que cherche Jacques* ┃ Jean-Claude Biette, 1970, 15’, France (16mm)
► *La Femme qui se poudre* ┃ Patrick Bokanowski, 1972, 165’ France (16mm)
*SATURDAY, MAY 7, 2022*
*May 7 - June 2*
Venue type: *Live, physical event*
Anthology Film Archives
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=1aed4b4fe5&e=857b71a9cb>
5:15pm ET,
32 Second Avenue, New York
*IMAGELESS FILMS, PART 2*
If there’s one central element that would seem to be intrinsic and
indispensable to any reasonable definition of the cinema it would be the
presence of imagery, whether photographed, animated, or generated through
more experimental methods such as hand-painting, scratching, collaging, and
so on. Nevertheless, throughout the history of the medium, artists have
challenged even this seemingly core tenet of the art form by producing
works that subvert or entirely dispense with the image, by expanding the
definition of the kinds of experience that can be shared within the space
of the cinema, or by provocatively defining as “cinema” performances that
might seem a thing apart.
These subversions of the idea of a medium of “moving images” have taken
many forms: works that emphasize spoken dialogue or sound collages; films
whose visual tracks consist primarily of written text; projector
performances that showcase or manipulate light and darkness; flicker films;
pure color studies; films that punctuate long stretches of darkness with
near-subliminal bursts of imagery; and so on and so forth.
This ongoing series represents an extended, in-depth, and multi-chapter
exploration of the various ways that filmmakers and artists have
experimented with the possibilities of an “imageless” cinema (or have
played with the idea of “emptiness” or visual subtraction in a more general
sense). The series began in April, and continues in May with films by
Coleen Fitzgibbon, Margaret Honda, Takahiko Iimura, Andrew Lampert,
Charmaine Lee, Maurice Lemaître, George Maciunas, João César Monteiro,
Luther Price, and many others. Further programs will take place in June,
including a very rare presentation of Louise Lawler’s *A MOVIE WILL BE
SHOWN WITHOUT THE PICTURE* (1979), works by Morgan Fisher, Hollis Frampton,
and Malcolm Le Grice, projector performances, and more.
In addition, Microscope Gallery will participate by presenting a number of
expanded cinema works or pieces that are specially designed for a gallery
space; for more info visit: https://microscopegallery.com/
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Programmed by Jed Rapfogel, in collaboration with Bradley Eros and John
Klacsmann. Special thanks to Elle Burchill & Andrea Monti (Microscope
Gallery); Gilad Baram; Coleen Fitzgibbon; Ed Halter; Margaret Honda; Adam
Kaplan; Andrew Lampert; Charmaine Lee; Keith Sanborn; Miguel Armas (Light
Cone); Théo Deliyannis (Collectif Jeune Cinéma); Andrew Steel Hart (NOS
Lusomundo); Edda Manriquez & Brian Drischell (Academy Film Archive); MM
Serra (Film-Makers’ Coop); Tom Sveen & Qing Jin (Cinema Guild); and Gerald
Weber (Sixpack Film).
MAGELESS FILMS: SNOW WHITE
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May 7 at 5:15 PM
May 9 at 7:30 PM
IMAGELESS FILMS: THE DISAPPEARED
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May 13 at 7:00 PM
May 15 at 8:30 PM
IMAGELESS FILMS: EXPEDITION CONTENT
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May 13 at 8:30 PM
May 15 at 4:15 PM
IMAGELESS FILMS: COLOR CORRECTION
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May 14 at 4:45 PM
May 16 at 7:30 PM
IMAGELESS FILMS: FILMING TIME
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May 15 at 6:30 PM
IMAGELESS FILMS: INTERNAL SYSTEMS
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May 19 at 6:45 PM
*___________________________________________________________________*
Venue type: *Live, physical event*
Anthology Film Archives
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7:30pm ET,
32 Second Avenue, New York
*TWO GIRLS by James Fotopoulos*
SPECIAL SCREENING – FILMMAKER IN PERSON!
James Fotopoulos has graced Anthology with his presence numerous times over
the years, both in the context of the Underground Film Festival (which took
place at Anthology throughout the late 1990s and early 2000s) and as part
of our regular programming. Among the most prolific and protean of
independent filmmakers, Fotopoulos made a name for himself with unsettling,
dreamlike midnight movies such as *MIGRATING FORMS* (1999), *BACK AGAINST
THE WALL* (2000), and *THE NEST* (2003), among many, many others. But his
body of work is as varied and category-busting as they come, encompassing
underground narrative films, experimental video works, short films of every
size and shape, genre movies, theatrical adaptations, and everything
in-between.
We’re thrilled to welcome Fotopoulos back to present the first U.S.
screening (only the second screening anywhere) of his 2018 feature film, *TWO
GIRLS*, which tells the story of young sisters in the American Midwest who
are left alone with their increasingly unstable mother while their father
is fighting in the Civil War. The film traces the girls’ naturally fraught
sibling dynamic and the ways that their father’s absence ignites their
imagination. When they meet a stranger in the forest, they become enchanted
by a world of creative work and nature, a welcome distraction from their
volatile mother. Play and the dreamlike space they inhabit provides an
expansive and ultimately grounding setting for the girls’ response to war.
*TWO GIRLS*
by James Fotopoulos
2018, 100 min, digital.
*SUNDAY, MAY 8, 2022* Venue type: *Virtual, online event*
*GearWax*
https://www.gearwax.org/
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6pm-8pm PT,
*GEARWAX: OLD VINYL, REPURPOSED*
A bi-weekly online radio program featuring old LPs, 45rpm and 78rpm
records. Hosted by Kathleen and Scott from San Francisco. Every other
Sunday, 6-8pm PT!
*___________________________________________________________________*
Venue type: *Live, physical event*
Anthology Film Archives
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=4cf637e816&e=857b71a9cb>
3pm ET,
32 Second Avenue, New York
*ROBERT HALLER (1942-2021)*
Anthology lost one of its most important, devoted, and well-loved staff
members last year, with the passing of Robert Haller (1942-2021). Robert
was a fixture at Anthology since 1980, when he first arrived in New York
for a four-year stint as Anthology’s Executive Director. He departed
temporarily in 1984, but returned in 1990, serving again as Director for
several years, before becoming responsible for Anthology’s Library. He
assumed an Emeritus position more recently, but was still coming into
Anthology on a weekly basis up until the onset of the pandemic. With 35
years at Anthology all told, only AFA’s founder Jonas Mekas could claim
seniority over Haller!
Robert was born in Pittsburgh in 1942, and was instrumental, alongside the
Carnegie Museum of Art’s Sally Dixon, in forming and nurturing that city’s
experimental film culture as well. He was the founding Executive Director
of Pittsburgh Film-Makers from 1973-79, and later published a book
chronicling those years, *“Crossroads: Avant-Garde Film in Pittsburgh in
the 1970s”* (2005). He was also the Publisher/Editor, from 1977-85, of the
film journal, *“Field of Vision”*. The same year Robert came to New York,
he married filmmaker and cine-dance pioneer Amy Greenfield. The two worked
closely together, and remained an inseparable couple until the very end.
At Anthology, Robert preserved numerous films, published several books
(*“Intersecting
Images: The Cinema of Ed Emshwiller”*; *“Fritz Lang 2000”*; *“Galaxy:
Avant-Garde Film-makers Look Across Space and Time”*; several volumes
devoted to filmmaker Jim Davis; and *“Crossroads”*; among others), and
organized many important film programs. He was also an extraordinary
photographer, producing both fine art images and a wealth of crucially
important photographs documenting avant-garde film culture throughout the
second half of the 20th century. His images of screenings and gatherings in
Pittsburgh, New York, and elsewhere in the 1970s and beyond, and his
portraits of filmmakers and scholars, are an indispensable record of the
community.
Robert was a totally singular, profoundly good-natured, and invariably
entertaining presence – a true eccentric, in the best possible sense. His
mind worked in mysterious ways, but there was no mistaking his infectious
sense of enthusiasm and seemingly inexhaustible store of knowledge. Coming
just two years after the death of Jonas Mekas, Haller’s death represented
the eclipse of another invaluable witness to 20th century film culture. But
generations of Anthology community members have and will continue to
remember him with immense fondness.
We were unable to present an in-person, public tribute to Robert at the
time of his death, thanks to the pandemic, but we’re pleased to do so at
long last this spring. This program aims to celebrate Haller’s many
accomplishments, by screening some of the films he made himself, produced
on behalf of others, or made appearances in; as well as showcasing some of
the films and filmmakers he especially valued and helped to promote.
Behind the camera:
Robert Haller & Dan Ochiva *NOTES ON THE BUFFALO CONFERENCE “AUTOBIOGRAPHY
IN AMERICAN INDEPENDENT CINEMA”* (1973, 7 min, 16mm)
Leo Vale *9-10* (1972, 2 min, 16mm-to-digital, silent. Made in
collaboration with Robert Haller.)
James Broughton *EROGENY* (1976, 6 min, 16mm. Produced by Robert Haller.)
Amy Greenfield *CORPOREAL MUSIC* (1996, 7 min, video. Produced by Robert
Haller.)
On-screen appearances:
Jonas Mekas *ROBERT HALLER’S WEDDING* (1980, 3 min, 16mm)
Jonas Mekas *365 DAY PROJECT: TUESDAY, NOVEMBER 6, 2007* (2007, 5.5 min,
digital)
Favorite filmmakers:
Ed Emshwiller *DANCE CHROMATIC* (1959, 7 min, 16mm. Preserved through a
collaboration between Anthology Film Archives and Lightbox Film Center.)
Jim Davis *IMPULSES* (1959, 9 min, 16mm)
Bruce Conner *BREAKAWAY* (1966, 5 min, 16mm)
Pittsburgh/Crossroads preservations:
Sharon Ruppert Green *SELF PORTRAIT OF A NUDE MODEL TURNED
CINEMATOGRAPHER* (1971,
4.5 min, 16mm)
Greg Gans *THE ROOM* (1971, 7 min, 16mm)
Al Mahler *EMANANT DOMAIN* (1979, 2.5 min, 16mm)
Total running time: ca. 80 min.
*ONGOING*
Venue type: *Virtual, online event*
*Riverwest Radio*
https://www.riverwestradio.com/show/the-long-conversation/
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=488842ca7f&e=857b71a9cb>
streaming 24/7
*THE LONG CONVERSATION*
THE LONG CONVERSATION with Xav Leplae and Stephanie Barber is on indefinite
hold. But... all episodes from the last year and a half are streaming!!!
*___________________________________________________________________*
Venue type: *Virtual, online event*
*6x6 Project*
https://6x6project.com/
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streaming 24/7
*Artists' Moving Image Works — Edition Nº 26*
6x6 project is an online artists' community that serves as a platform for
disseminating artists' moving image works, and to create
an ever-growing network among peers.
To date, there have been twenty-seven editions with six different artists.
There are now a total of one hundred and sixty-two artists’ profiles and
more than four hundred artists’ film and moving image works available to
view on the website.
Edition Nº 27 includes works by Krzysztof Honowski, Tilly Shiner, André
Santos Martins, Deniz Şimşek, João Pedro Faro, Clara Helbig
*___________________________________________________________________*
Venue type: *Virtual, online event*
*Ecstatic Static*
https://www.ecstaticstatic.com/screenings/
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streaming 24/7
*ECSTATIC STATIC SCREENINGS*
We host regular online screenings of artists’ films and videos on the
landing page, as a way to share work both new and rare, that may otherwise
have a limited release. For more information on each artist and ways on how
to support their work, please see the links below.
*Screening No. 14: ———*
Mohamad Hafeda, *Sewing Borders*. 2018, 25 min
Irene Gutiérrez, *Diarios de Frontera (Border Diaries)*. 2013, 25 min
Ryan Ferko, *Hrvoji, Look at You From the Tower*. 2019, 17 min
Jumana Emil Abboud , *Smuggling Lemons*. 2006, 20 min
Randa Maroufi, *Bab Sebta (Ceuta's Gate)*. 2019, 19 min
Chen Chieh-jen, *Empire's Borders I*. 2009, 26 min, 50 sec
Annemarie Jacir, *Like Twenty Impossibles*. 2003, 17 min
Alia Syed, *On a Wing and a Prayer*. 2016, 19 min
------------------------------
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