[Frameworks] This Week in Avant Garde Cinema: August 5 - 13, 2023
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*This Week [August 5 - 13, 2023] 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)
08.11.2023 Slamdance Film Festival
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(Regular Deadline)
08.15.2023 Istanbul International Experimental Film Festival
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(9th Deadline)
08.23.2023 Kinoskop – Analog Experimental Film Festival
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(Late Deadline)
08.31.2023 Alchemy Film and Moving Festival
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(Early Deadline)
09.01.2023 Cauldron International Film and Video Festival
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(Early Deadline)
09.03.2023 PRISME #6
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09.06.2023 Punto de Vista
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09.08.2023 Light Matter Film Festival
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09.08.2023 Coney Island Film Festival
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(Early Deadline)
*EVENTS*
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*complicated sorting but a true attempt, enjoy!*
This week's programs (summary):
- Refresh
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[March
2022 - Spring 2023, Denver, CO]
- Inheritance
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[June
22, 2023-Feb 2024, New York, NY]
- Alex Mackenzie: Experiments For A Single Projector
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[July 28-August 11, European Tour]
- EC: Paul Sharits
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[August
5, New York, NY]
- EC: Harry Smith (Two Programs)
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[August
6, New York, NY]
- Los Angeles Filmforum Presents 5973 Miles Away: Women's Exorcisms of
Loss
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[August
6, Los Angeles, CA]
- EC: Ron Rice / Jack Smith
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[August
10, New York, NY]
- EC: No President
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[August
10, New York, NY]
- Michael Snow: Two Programs
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[August
11, New York, NY]
- The Short Films of Janelle VanderKelen
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[August
11, Santa Fe, NM]
- Chicago Seen Volume 16
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[August
12, Chicago, IL]
- Think It Might Rain?
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[August
12, Hillsborough, NC]
- EC: Carriage Trade
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[August
12, New York, NY]
- The Long Conversation
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[ongoing, online]
- 6x6 Project: Artists' Moving Image Works
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[ongoing,
online]
*STARTING BEFORE AUGUST 5, 2023*
*March 2022 - Summer 2023*
Venue type: *Live, physical event*
Denver Museum of Nature & Science
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open during Museum hours,
The Summit Stage and Expedition Health, Denver Museum of Nature & Science,
2001 Colorado Blvd, Denver, CO
*REFRESH: *CYANOBACTERIA OFFER PERSPECTIVE ON OURSELVES
This art-science collaboration looks at the microscopic ways cyanobacteria
move, on an individual level and in colonies. If we study these organisms
and their varied forms, we might discover ways to improve our future.
On display at the Denver Museum of Nature & Science in the Summit Stage and
Expedition Health, March 2022 - Fall 2022
The cells in your body take in oxygen and sweep out waste products like
carbon dioxide (CO2). Microscopic cyanobacteria use photosynthesis to work
in reverse, breathing in CO2 and pumping out oxygen.
Three billion years ago, cyanobacteria created Earth’s oxygenfilled
atmosphere, supporting the evolution of creatures like us. Today, they
provide one-quarter of the planet’s oxygen, and cyanobacteria like
spirulina provide us with food.
Researchers believe that cyanobacteria —which need only sunlight, CO2, and
water to thrive— could offer solutions to our changing climate. They might
help reduce CO2 on a grand scale, contribute to biofuel production, and
support long-term space travel. This diverse group of organisms offers a
symbolic warning as well: when colonies of cyanobacteria become too dense
or stressed, they can run out of nutrients or be destroyed by their own air
pollution.
Made with the collaborative efforts of filmmaker Erin Espelie and the
Jeffrey Cameron Laboratory at the University of Colorado Boulder, which
created a customized microscope system specifically tailored for long-term
growth and quantitative imaging of cyanobacterial cells; with special
thanks to microbiologist and cinematographer Evan Johnson and artists Nima
Bahrehmand, Travis Austin, Will Alstetter, as well as NEST Studio for the
Arts.
*___________________________________________________________________*
*June 22, 2023 - February 2024*
Venue type: *Live, physical event*
Whitney Museum of American Art
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99 Gansevoort St, New York, NY
*Inheritance*
Inheritance traces the profound impacts of legacy and the past across
familial, historical, and aesthetic lines. Featuring new acquisitions and
rarely-seen works from the Whitney collection by forty-three leading
artists, the exhibition includes paintings, sculptures, videos,
photographs, and time-based media installations from the 1970s to today.
This diverse array of works consider what has been passed on and how it may
shift, change, or live again.
Drawing inspiration from Ephraim Asili’s 2020 film of the same title,
Inheritance reflects on multiple meanings of the word, whether celebratory
or painful, from one era, person, or idea to the next. The exhibition takes
a layered approach to storytelling by interweaving narrative with
documentary and personal experiences with historical and generational
events. A group of works examining the cycle from birth to death opens the
exhibition, while other galleries take up different kinds of lineages, such
as how artists borrow from and remake art history or unspool legacies of
racialized violence and their recurrences.
The poet Rio Cortez speaks of being “framed by our future knowing”—even as
we sit in this moment, we slide backward and forward in time, between our
foremothers and the descendants we will never know. Rather than passively
accepting our current state, the artists whose work is on view here ask:
How did we get here, as individuals and as a society, and where are we
going?
Artists featured in this exhibition include Ephraim Asili, Sadie Barnette,
Kevin Beasley, Diedrick Brackens, Beverly Buchanan, Widline Cadet, Andrea
Carlson, Jonathan Lyndon Chase, Ralston Crawford, Mary Beth Edelson, John
Edmonds, Kevin Jerome Everson, Chitra Ganesh, Todd Gray, Wade Guyton, David
Hartt, Emily Jacir, Wakeah Jhane, Mary Kelly, Deana Lawson, An-My Lê,
Maggie Lee, Sherrie Levine, Dindga McCannon, Ana Mendieta, Thaddeus Mosley,
Lorraine O’Grady, Kambui Olujimi, John Outterbridge, Pat Phillips, Faith
Ringgold, Sophie Rivera, Carissa Rodriguez, Cameron Rowland, Sturtevant,
Hank Willis Thomas, Clarissa Tossin, Kara Walker, Joan Wallace, Carrie Mae
Weems, WangShui, and Bruce and Norman Yonemoto.
This exhibition is organized by Rujeko Hockley, Arnhold Associate Curator
at the Whitney Museum of American Art.
*___________________________________________________________________*
*July 28 - August 11*
Venue type: *Live, physical event*
Alex Mackenzie on Tour
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times and locations vary, see below,
Barcelona, Vienna, Plymouth, London, Frome, Newcastle
*ALEX MACKENZIE: EXPERIMENTS FOR A SINGLE PROJECTOR — TOURING IN EUROPE
LATE JULY & AUGUST 2023*
If you are in Barcelona, Vienna, Plymouth, London, Frome or Newcastle in
the next weeks, come check out Alex MacKenzie’s EXPERIMENTS FOR A SINGLE
PROJECTOR, as he tours this live expanded cinema show to a few select stops
in Europe (see below for links) and presents workshops.
Exploring the potential of the 16mm film projection apparatus and
amplifying the possibilities of this refined and precise tool, EXPERIMENTS
FOR A SINGLE PROJECTOR is a suite of expanded and performed works that use
the mechanism to its fullest potential; manipulating, modifying and
enhancing various aspects of its functionality. Found footage, painted
filmstrips and light are transformed with beam interference, bipacked
looping, focus, lens and shutter alterations to create radically
transformed and dreamlike spaces—epic, immersive, and abstracted. The
results shimmer across the screen, uniting “the cosmic with the
microscopic...in an ecstatic splendour of light” (Marilyn Brakhage).
“Alex MacKenzie is the unequivocal master of contemporary Canadian expanded
cinema: using rare and outdated technology with the deft touch of a visual
alchemist, MacKenzie spins his stunning and mesmerizing anti-narratives
using the detritus of cinematic history to create a completely
unforgettable, and undeniably powerful, alternate vision.” -Antimatter
Media Art
“MacKenzie is a key player in the revival of expanded cinema forms, having
performed an array of super 8 and 16mm projection works over the last
twenty-five years. His projects stretch the possibilities of the analogue
form, manipulating images to beyond our received expectations.”
-Chris Kennedy, Early Monthly Film Segments (Toronto)
Experiments for a Single Projector Trailer: https://vimeo.com/824414370
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DATES AND LOCATIONS:
28 July Barcelona - Crater-Lab Hangar, door T 8pm
https://tinyurl.com/crateralex
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31 July Vienna - filmkoop wien 7pm https://tinyurl.com/wienalex
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02 August Plymouth - CAMP/37 Looe Street https://37looestreet.org/
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07 August London- Close-Up Film Centre 8:15pm
https://tinyurl.com/close-upalex
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09 August Frome - Bennett Centre 7:30pm https://tinyurl.com/fromealex
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11 August Newcastle - Star & Shadow Cinema 7:30pm
https://tinyurl.com/newcastlealex
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*SATURDAY, AUGUST 5, 2023* Venue type: *Live, physical event*
Anthology Film Archives
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7:30pm ET,
32 Second Avenue, New York, NY
*EC: PAUL SHARITS*
*S:TREAM:S:S:ECTION:S:ECTION:S:S:ECTIONED* 1968-70, 41 min, 16mm. Restored
by Anthology Film Archives.
“Yes, *S:S:S:S:S:S* is beautiful. The successive scratchings of the
stream-image film is very powerful vandalism. The film is a very complete
organism with all the possible levels really recognized.” –Michael Snow
*COLOR SOUND FRAMES* 1974, 26 min, 16mm. Preserved by Anthology Film
Archives.
“A film in which Sharits sums up his researches in the area of film strip
(in opposition to the individual frames). The film strips move horizontally
and vertically; two strips move simultaneously in opposite directions;
variations in color; action of sprocket-holes. Very methodically and
scientifically he covers the area. […] *COLOR SOUND FRAMES* advances one
area of cinema or one area of researches in cinema (call it art if you
wish) to a new climax, to a new peak: his exploration is so total, so
perfect.” –Jonas Mekas, VILLAGE VOICE
Total running time: ca. 70 min.
*SUNDAY, AUGUST 6, 2023* Venue type: *Live, physical event*
Anthology Film Archives
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5:45pm + 7:30pm ET,
32 Second Avenue, New York, NY
*EC: HARRY SMITH (Two Programs)*
--- Program 1: 5:45pm ET ---
*FILM NOS. 1-5, 7, 10 (EARLY ABSTRACTIONS)* (ca. 1946-57, 23 min,
16mm-to-35mm. Restored by Anthology Film Archives and The Film Foundation
with funding provided by the Hobson/Lucas Family Foundation.)
*FILM NO. 11 (MIRROR ANIMATIONS)* (ca. 1957, 4 min, 16mm. Preserved by
Anthology Film Archives.)
*FILM NO. 14 (LATE SUPERIMPOSITIONS)* (1964, 28 min, 16mm-to-35mm. Restored
by Anthology Film Archives and The Film Foundation with funding provided by
the Hobson/Lucas Family Foundation.)
“My cinematic excreta is of four varieties: – batiked animations made
directly on film between 1939 and 1946; optically printed non-objective
studies composed around 1950; semi-realistic animated collages made as part
of my alchemical labors of 1957 to 1962; and chronologically super-imposed
photographs of actualities formed since the latter year. All these works
have been organized in specific patterns derived from the interlocking
beats of the respiration, the heart and the EEG Alpha component and should
be observed together in order, or not at all, for they are valuable works,
works that will forever abide – they made me gray.” –Harry Smith
Total running time: ca. 60 min.
--- Program 2: 7:30pm ET ---
*FILM NO. 12 (HEAVEN AND EARTH MAGIC)* (ca. 1957-62, 66 min, 16mm, b&w)
Preserved by Anthology Film Archives with support from the National Film
Preservation Foundation and Cineric, Inc.
“[the film] can be seen as one moment – certainly the most elaborately
crafted moment – of the single alchemical film which is Harry Smith’s life
work. In its seriousness, its austerity, it is one of the strangest and
most fascinating landmarks in the history of cinema. Its elaborately
constructed soundtrack in which the sounds of various figures are
systematically displaced onto other images reflects Smith’s abiding concern
with auditory effects.” –P. Adams Sitney
*___________________________________________________________________*
Venue type: *Live, physical event*
Los Angeles Filmforum
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7:30 PM PST,
2220 Arts & Archives - 2220 Beverly Blvd, Los Angeles, CA 90057
*Los Angeles Filmforum presents 5973 Miles Away: Women’s Exorcisms of Loss*
Curated by Seok-Young Yang
Los Angeles to Seoul is 5973 miles, but the distance of a loved one lost is
so much further. When my father was mentally and physically suffering while
I was in California and he was across the ocean, I learned that the idea of
“grief” is neither simple nor easily dismissed. The feelings of sadness,
anger, and guilt – in the face of pressure to “move on,” – get imprinted in
the body and in one’s interactions with the world.
These women filmmakers have attempted to find corollaries in filmic spaces,
ways of exorcizing some elements of the profound grief each has faced.
These works invite us to the deep space of the body where emotional
understanding is prioritized over intellectual thinking. The works that
resonate with me the most are those that investigate a continuous process
of grieving, not destined to have any type of resolution.
The program centers around British experimental filmmaker Sarah Pucill's
work, *Stages of Mourning*, which exhibits her attempts to physically
reenact and represent her partner who passed away from anorexia. Onyou Oh's
*Pyrotechnics* elongates a discourse on cinema and loss of theater
experience during the global pandemic by utilizing different forms of
cameras with celluloid film. Celeste Olliveir’s *FATHER* utilizes
reenactment to exorcize the embodied pain coming from an intense
father-daughter relationship. Jeong Yoon Ahn’s *I have never met you* uses
extreme close-up shots on photographs taken by her late sister, emphasizing
the tactility of emotional pixelation and visual noise, from a sister which
Ahn can no longer reach. Xiao Zhang’s *Tongue Film* showcases loss of
liquid from the female body. Water, directly associated with aliveness, the
work brings ghostly souls on screen. The selected films' haptic realism
imprints gestural memories and fades out the tormented marks on women's
bodies. The film program will be accompanied by a poetry reading at its
conclusion. abbi page will present a short reading of their several works,
which center on black femme suffering and tie back to what each film is
discussing. – Seok-Young Yang
Recommended Readings:
*Appetite: Why Women Want*, by Caroline Knapp
*Swallowing Practice*, by Jeannie Park
*Amado Africa*, by Jenny Lee
*Mourning Diary*, by Roland Barthes
*Journal D’un Corpse*, by Daniel Pennac
*Stages of Mourning *By Sarah Pucill, 2021, 16mm, 17 Min. LA Premiere
Ritualized through performance to camera, Stages of Mourning is Pucill’s
journey of bereavement. In as much as this is a meditation on coming to
terms with loss, the film is an exploration of how our relationship with
the dead is made different through film. The artist orders image fragments
of her late lover and collaborator, Sandra Lahire. By trying to physically
immerse herself into photographs and film footage or by restaging these,
Pucill forms a continuous stream of a life of two lovers. Through this
doubling and layering, illusions accumulate as if these were a product of a
machine that didn’t stop.
*Pyrotechnics*, By Onyou Oh, 2023, HD, 11 Min.
A vivid, textural experimental film that explores imaginary cinema spaces
during a surreal time when all the theaters on the planet shut down. Born
out of bits and pieces of sound and image the filmmaker had accumulated
over a span of several years, the abstract yet diaristic and fictional
audio-visual tapestry leads the audience to an abstract yet palpable
experience of her dream theater.
*FATHER*, By Celeste Ollivier, 2022, HD, 11 Min, World Premiere
An interpretive reenactment of a traumatic experience seen through an
observational form. Movement-based, the film is concerned with the
internalization of tarnished familial relationships.
*I Have Never Met You*, By Jeong Yoon Ahn, 2018, HD, 20 Min. US Premiere
The film uses extreme close-up shots on photographs taken by her
collaborator Misun's late sister, emphasizing the tactility of emotional
pixelation and visual noise, which Misun can no longer reach.
*Tongue Film*, By Xiao Zhang, 2022, 16mm to Digital, 7 Min., World premiere
An autobiographical 16 mm project exploring often-ignored, invisible
disease aspects with unknown causes. The film sheds light on the complex
interplay between physically unpredictable emergence and psychological
distress through my partner's suffering from night sweats and my own
sleeping experiences with urinary incontinence. It drives out a mediation
of the confrontation with the uncontrolled body and leaked desires through
celluloid hand-processing.
*Wind-Up Teeth vii*, By abbi page, 2018, HD, 5 Min. with live reading,
World premiere
abbi page’s work in this program is a part of a series of poems and film
poems called the “wind-up teeth” series; it comes from their
work-in-progress multimedia poetry collection titled “A List of: Objects on
My Windowsill/ Things I Wish I Was/ Odes to the Ghost of my motherself
and/or MyBrother & I.” page uses multiple forms and has pieces collide into
each other in order to create overlays of incompossible worlds and times.
The rush of metaphors, images, and syntax across poems in the collection
creates a sort of sensual excess (Amber Jamila Musser) which allows
emotional content to overflow its containers into other pieces; it is a
surplus of intimacy and opacity, which permits us to think beyond black
queer femininity and sensuality in relation to historical and contemporary
violence on the black femme body but still acknowledge that violence and
grief.
*THURSDAY, AUGUST 10, 2023* Venue type: *Live, physical event*
Anthology Film Archives
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7pm ET,
32 Second Avenue, New York, NY
*EC: RON RICE / JACK SMITH*
Jack Smith *SCOTCH TAPE* (1962, 3 min, 16mm)
A junkyard musical.
Jack Smith *FLAMING CREATURES* 1963, 45 min, 16mm, b&w
“[Smith] graced the anarchic liberation of new American cinema with graphic
and rhythmic power worthy of the best of formal cinema. He has attained for
the first time in motion pictures a high level of art which is absolutely
lacking in decorum; and a treatment of sex which makes us aware of the
restraint of all previous filmmakers.” –FILM CULTURE
Ron Rice *CHUMLUM* (1964, 23 min, 16mm-to-35mm. With Jack Smith, Beverly
Grant, Mario Montez, Joel Markman, Frances Francine, Guy Henson, Barry
Titus, Zelda Nelson, Gerard Malanga, Barbara Rubin, and Frances Stillman.
Music by Angus MacLise. Restored by Anthology Film Archives and The Film
Foundation with funding provided by the Hobson/Lucas Family Foundation.)
“A hallucinatory micro-epic filmed during lulls in the production of
Smith’s NORMAL LOVE and one of the great ‘heroic doses’ of ’60s underground
cinema, a movie so sumptuously and serenely psychedelic it appears to have
been printed entirely on gauze.” –Chuck Stephens, CINEMA SCOPE
Total running time: ca. 75 min
*___________________________________________________________________*
Venue type: *Live, physical event*
Anthology Film Archives
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9pm ET, 32 Second Avenue, New York, NY
*EC: NO PRESIDENT*
by Jack Smith, 1967-70, 45 min, 16mm. Restored print courtesy of the
Gladstone Gallery.
*NO PRESIDENT* was Jack Smith’s third feature film. In this version,
restored by filmmaker Jerry Tartaglia, the scenes alternate between
elaborate tableaux shot at Smith’s Greene Street loft with found footage of
former presidential candidate Wendell Willkie. The film features
underground stars, including Tally Brown, Jerry Sims, Irving Rosenthal,
Donna Kerness, Mario Montez, and Charles Henri Ford.
“The last of Jack Smith’s 16mm features – austerely black and white, more
an exercise in sensibility than craft – evolved out of his November 1967
program, Horror and Fantasy at Midnight. Like Ken Jacobs’s *STAR SPANGLED
TO DEATH*, Horror and Fantasy at Midnight would mix original material with
found footage including newsreel footage of the 1940 Republican Convention
that nominated Wendell Willkie to run for president. By late March 1968,
Horror and Fantasy had coalesced into Kidnapping and Auctioning of Wendell
Willkie (sic) by the Love Bandit – an all black-and-white presentation
starring writer Irving Rosenthal as the infant Wendell abducted by a
mustachioed pirate and sold on the block of a slave market. In early
January 1969, the movie had its theatrical premiere as *NO PRESIDENT*. For
musical accompaniment Smith played records and also used the soundtracks of
the found material, albeit slowed down for being projected at silent speed.
The surviving version *NO PRESIDENT* alternates scenes shot in the Plaster
Foundation with found footage – including a Lowell Thomas travelogue of
Sumatra, a clip, apparently from the late 1940s, of an unidentified couple
singing ‘A Sunday Kind of Love’, and newsreel footage of candidate Willkie
addressing the future Farmers of America. […] Parker Tyler would hail *NO
PRESIDENT* as ‘an even more daring exploitation of the themes in *FLAMING
CREATURES*, and the Selection Committee for the newly established Anthology
Film Archives voted to include both in its canon of essential cinema.” –J.
Hoberman
*FRIDAY, AUGUST 11, 2023* Venue type: *Live, physical event*
Anthology Film Archives
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=5fff95b345&e=857b71a9cb>
7:15pm + 8:45pm ET,
32 Second Avenue, New York, NY
*Michael Snow: Two Programs*
--- Program 1 - 7:15pm ET ---
EC: *WAVELENGTH* by Michael Snow, 1967, 45 min, 16mm
“[the film] is without precedent in the purity of its confrontation with
the essence of cinema: the relationships between illusion and fact, space
and time, subject and object. It is the first post-Warhol, post-Minimal
movie; one of the few films to engage those higher conceptual orders which
occupy modern painting and sculpture. It has rightly been described as a
‘triumph of contemplative cinema’.” –Gene Youngblood, L.A. FREE PRESS
--- Program 2 - 8:45pm ET ---
EC: *(BACK AND FORTH)* by Michael Snow, 1969, 50 min, 16mm-to-35mm
Restored by Anthology Film Archives with funding provided by the Los
Angeles County Museum of Art (LACMA) and The Film Foundation. Special
thanks to Dan DeVincent, Simon Lund, and Adam Wangerin (Cineric, Inc.).
“This neat, finely tuned, hypersensitive film examines the outside and
inside of a banal prefab classroom, stares at an asymmetrical space so
undistinguished that it’s hard to believe the whole movie is confined to
it, and has this neckjerking camera gimmick which hits a wooden stop arm at
each end of its swing. Basically it’s a perpetual motion film which
ingeniously builds a sculptural effect by insisting on time-motion to the
point where the camera’s swinging arcs and white wall field assume the
hardness, the dimensions of a concrete beam.
“In such a hard, drilling work, the wooden clap sounds are a terrific
invention, and, as much as any single element, create the sculpture.
Seeming to thrust the image outward off the screen, these clap effects are
timed like a metronome, sometimes occurring with torrential frequency.”
–Manny Farber, ARTFORUM, 1970
*___________________________________________________________________*
Venue type: *Live, physical event*
No Name Cinema
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=d237c44a57&e=857b71a9cb>
7pm MST,
No Name Cinema, 2013 Pinon Street, Santa Fe, NM
*the short films of JANELLE VANDERKELEN*
Janelle VanderKelen is an artist, curator, and educator currently based in
Milwaukee, WI. Her films and intermedia installations imagine alternative
acts of relation between imperfect bodies (human, vegetal, geological, or
otherwise) and make visible the agency of plants through experimental
time-based media processes.
The night's sixty minute long program will include works created on 16mm
film and digital video, 2015-2023.
filmmaker in attendance! post-screening Q&A!
*SATURDAY, AUGUST 12, 2023* Venue type: *Live, physical event*
Chicago Filmmakers
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=060bd0bc71&e=857b71a9cb>
7PM Central,
1326 W Hollywood Ave, Chicago, IL 60660
*CHICAGO SEEN VOLUME 16 | IN-PERSON (8/12)*
We are thrilled to present another edition of our local film series Chicago
Seen (formerly known as Spirit of Chicago). Chicago Filmmakers invites free
submissions all year round from Chicago-based filmmakers and/or films about
Chicago. Volume 16 features work by Aidan Karstadt, Andrew Paul Davis, M.
Woods, George Ellzey Jr., Jejoon Park, Jesse Rothenberg & Zo Zosak, Josh
Weissbach, Juli Del Prete, and Nick Schoenbrodt.
Following the screening, the Chicago Seen programming team will moderate a
conversation with the filmmakers in attendance. Chicago Seen programming
team: Sofia Migaly, Jacob Shevitz, Bella Miller, Mariam Atallah, and
McGuire Price. Lead programmer: Grace K. Schuler.
*HAVING A NICE DAY* (Dir. Jesse Rothenberg & Zo Zosak) 2023
Becca and Tom's nice day at the park is interrupted when a golf ball lands
in their hummus. Mark emerges from the woods looking for his ball with his
evil boss Jordan on his tail. Jordan insists Mark hit the ball out of the
hummus but what no one knows is that Tom has hidden an engagement ring in
the dip and will do anything to preserve his big day.
*CAROLINE* (Dir. Juli Del Prete) 2022
A young actress's audition for a major movie takes an unexpected turn.
*BOSOM* (Dir. George Ellzey Jr.) 2023
When estranged sisters Jade & Amber attend their mother's funeral,
long-held resentments and painful secrets come out into the open.
*“AS ONE SOWS SO SHALL HE REAP”* (Dir. Jejoon Park) 2023
What happens when you plant meat in a pot?
*TO ALL THOSE* (Dir. Josh Weissbach) 2020
A city symphony in miniature, dedicated to anyone who has gotten lost in
thought while stuck on the midwinter train. to all that unfolds in those
private reveries.
*EATEN* (Dir. Andrew Paul Davis) 2023
Music Video for Andrew Paul Davis' 2023 song, "Eaten."
*ONE NIGHT ON DOVER ST.* (Dir. Aidan Karstadt) 2022
A young tenant must fend off his neat freak of a Neighbor.
*MELENCOLIA 1: THE END OF THE ALPHABET* (Dir. M. Woods) 2023
A sadness rolls over me as I gaze into the entrails of this pandora's box
and my shadow cranks a lost appendage for the sake of ontological tangents
and bewitched spaces. I want you to witness The Hallucinatory Zone of
Neo-Liberal death hounds and lost gazes that expand and contract time. I
was nothing, so nothing was lost.
*OOPS! I’VE BEEN DRIVEN MUNDANE* (Dir. Nick Schoenbrodt) 2023
Morkie, an aging stop-motion animator, lives a passive, hermetic life in
the isolated garage she rents from her botanist great-aunt Mildred. But her
quiet routine is thrown into chaos when Mildred tasks her with caring for
the surrealistic flora of her personal collection. As more and more of
these plants are delivered, with increasingly elaborate instructions for
care, this minor inconvenience becomes a constant regimen that devours
Morkie’s waking life and drives her to the brink of madness.
*___________________________________________________________________*
Venue type: *Live, physical event*
Movies in the Woods
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=1ba4ed7f89&e=857b71a9cb>
8:30pm ET,
Movies in the Woods, 611 Lawrence Rd, Hillsborough, NC 27278
*Think It Might Rain?*
An outdoor film program about rain, with clips featuring Joan Crawford in
the 1932 movie *Rain*, plus *Rain* by Joris Ivens (1928).
*___________________________________________________________________*
Venue type: *Live, physical event*
Anthology Film Archives
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=d9e1205379&e=857b71a9cb>
5:30pm ET,
32 Second Avenue, New York, NY
*EC: CARRIAGE TRADE*
by Warren Sonbert, 1973 version, 61 min, 16mm
“With *CARRIAGE TRADE*, Sonbert began to challenge the theories espoused by
the great Soviet filmmakers of the 1920s; he particularly disliked the
‘knee-jerk’ reaction produced by Eisensteinian montage. In both lectures
and writings about his own style of editing, Sonbert described *CARRIAGE
TRADE* as ‘a jig-saw puzzle of postcards to produce varied displaced
effects.’ This approach, according to Sonbert, ultimately affords the
viewer multi-faceted readings of the connections between shots through the
spectator’s assimilation of ‘the changing relations of the movement of
objects, the gestures of figures, familiar worldwide icons, rituals and
reactions, rhythm, spacing, and density of images.” –Jon Gartenberg
*ONGOING*
Venue type: *Virtual, online event*
Riverwest Radio
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=0f97eeb0d6&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://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=d31be42b1d&e=857b71a9cb>
streaming 24/7
*Artists' Moving Image Works*
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.
There are now more than four hundred artists’ film and moving image works
available to view on the website.
------------------------------
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