[Frameworks] This Week in Avant Garde Cinema: March 23 - 31, 2024
This Week
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*This Week [March 24 - 31, 2024] in Avant Garde Cinema*
To receive the weekly listing directly via email rather than through
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*DEADLINES APPROACHING*
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___________________________________________________________________________________
*sorted by submission deadline*
03.25.2024 Oak Cliff Film Festival
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(Regular Deadline)
03.30.2024 Braziers International Film Festival
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(Regular Deadline)
03.30.2024 Cauldron International Film and Video Festival
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(Late Deadline)
03.31.2024 Mimesis Doc Fest
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(Late Deadline)
03.31.2024 Experimental Film & Video Festival in Seoul (EXiS)
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03.31.2024 Laterale Film Festival
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(Sixth Deadline)
04.01.2024 Analogica
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(Late Deadline)
04.01.2024 Chicago Underground Film Festival
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(Late Deadline)
04.01.2024 Sans Souci Festival of Dance Cinema
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(Regular Deadline)
04.01.2024 The Franklin Furnace FUND for Performance Art
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04.05.2024 VSW Project Space Residency
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04.15.2024 WNDX Festival of Moving Image
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04.18.2024 Locarno Film Festival
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(Regular Deadline)
05.17.2024 Edinburgh Short Film Festival
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(Regular Deadline)
05.31.2024 25FPS Festival
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05.31.2024 San Diego Underground Film Festival
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(Early Deadline)
06.01.2024 Engauge Experimental Film Festival
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06.15.2024 RPM Fest - Revolutions Per Minute Festival
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(Extended Deadline)
*EVENTS*
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*complicated sorting but a true attempt, enjoy!*
This week's programs (summary):
- A Common Sequence
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[March 22-24, New York, NY]
- This Room Is Nothing Without You - Experimental And Expanded Animation
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[March 23, Oakland, CA]
- Best of Fest Feast
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[March 23, San Francisco, CA]
- EC: Kubelka / Lye
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[March 24, New York, NY]
- Luther Price: New Utopia And Light Fracture, Remembering Luther Price I
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[March 24, San Francisco, CA]
- 62nd Ann Arbor Film Festival
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[March
26-April 7, Ann Arbor, MI + online]
- VISIONS presents EVA MARIE RØDBRO
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[March
27-28, Montreal, QC, Canada]
- Two Films By Tom Rhoads, Remembering Luther Price II
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[March
28, Oakland, CA]
- In Dialogue With Mara Ahmed
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[March
28, Rochester, NY]
- EC: George & Mike Kuchar
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[March
30, New York, NY]
- EC: George Landow, Aka Owen Land
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[March
30, New York, NY]
- X~PERI~MENTAL ANIMATION
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[March
30, San Francisco, CA]
- Agnès Varda Shorts, Program 1
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[March
31, Berkeley, CA]
- The Long Conversation
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[ongoing, online]
- 6x6 Project: Artists' Moving Image Works
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[ongoing,
online]
*STARTING BEFORE MARCH 23, 2024* *March 22 - 24*
Venue type: *Live, physical event*
*Anthology Film Archives*
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7:30pm ET each night,
32 Second Avenue, New York, NY
*A COMMON SEQUENCE*
by Mary Helena Clark & Mike Gibisser, 2023, 78 min, DCP
SPECIAL SCREENINGS! FILMMAKERS IN PERSON!
In the wake of our February survey of Mary Helena Clark’s short films,
we’re delighted to follow up by showcasing the 2023 feature-length
collaboration between Clark and Mike Gibisser. *A COMMON SEQUENCE* examines
shifts of life and labor through a critically-endangered salamander and
plant patents in the apple industry. Weaving the stories of Dominican nuns
running a conservation lab, a group of fishermen attempting to live off of
a depleting lake, engineers developing AI-driven harvesting machines, and
an indigenous biomedical researcher resisting the commodification of human
DNA, the film becomes a meditation on the shifting border between the
natural and unnatural world, and the dynamics of power at play.
“Within the human struggle to live and work, and with the materials for
survival available for exploitation, seemingly foreign worlds are
intertwined in the modern battlefield of patents, ownership, and
colonialism. Delving into labor and science practices, *A COMMON
SEQUENCE* examines
who gets to work with the essentials of life – saving animals from
extinction, researching medicine, harvesting food, coding the genome – in
our modern world controlled by data. Clark and Gibisser take us to the
areas and people involved in these physical and political worlds with an
intuitive visual style, letting the audience experience each location’s
atmosphere. Take the achoque salamander, which can regenerate limbs and
even its heart, the intellectual property rights for apple trees, and the
commodification of human DNA. The film eloquently guides us through the
philosophy of what is ‘common’ to everyone in nature and the complicated
pursuits of owning materials of the planet and even our bodies, whether for
conservation or for sale.” –Mike Plante
*SATURDAY, MARCH 23, 2024* Venue type: *Live, physical event*
*Shapeshifters Cinema*
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6-9pm PT,
567 5th St, Oakland, CA
*THIS ROOM IS NOTHING WITHOUT YOU - EXPERIMENTAL AND EXPANDED ANIMATION*
*This Room is Nothing Without You* is a program of experimental and
expanded animation works by Bay Area artists Meghana Bisineer, Lydia
Greer, Kathleen Quillian & Jeremy Rourke that was originally going to be
presented as part of Bay Area Now 9 cinema programming. In light of YBCA's
response to the eight BAN9 artists' *Love Letter to Gaza* protest action on
February 15, 2024, the collective has withdrawn from participating in
YBCA's programming and have instead decided to share the work and
conversations at Shapeshifters Cinema with proceeds going towards
humanitarian aid in Gaza.
The artists have also chosen to include short animations by Yasmeen
Abedifard and Ola Abdel Latif Barakat whose works both resonate with their
own and that also speak to critical issues of the day.
The program will conclude with a conversation between the artists and
curators Kathleen Maguire and Gina Basso.
*___________________________________________________________________*
Venue type: *Live, physical event*
*Other Cinema*
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8pm PT,
ATA Gallery, 992 Valencia (@ 21st), San Francisco, CA
*BEST OF FEST FEAST*
COSMIC RAY SIGHTINGS: SEARS + SOLONDZ + STEPHENS +
We're psyched to collaborate with our sister microcinema project on the
Other side of the country, Cosmic Rays, which has established a much-need
node of experimental-film exhibition in the Chapel Hill, NC area! Bill
Brown, Sabine Gruffat, and John Winn not only curate their cutting-edge
Festival of new regional--and international--art-films, but are now also
circulating must-see tours of the very Best of their Fest! And that's
what's streaking across our screen tonight: Kelly Sears' speculative
animation *Phase II*, Joshua Solond*z*' tapestry of shredded celluloid *NE
Corridor*, Courtney Stephens' mother's wail for reproductive rights *Lesser
Choices*, Wenhua Sh*i*'s social-media weave *Because the Sky Is Blue*, Nicolas
Gebbe's claustrophobic *Lockdown Dreamscape*, Waime Haddad's
suspended-time *Hors
Titres*, Camila Moreiras' post-plutonium poem *Sine Dies*, Alina Taalman*'*s
strange dream *Pre-Arranged Signal*, Merette Mueller's prison experiment *Blue
Room*, and Pere Ginard's underwater inventory *Sightings*. PLUS some local
cine-spices sprinkled on top of this special movable feast!
*SUNDAY, MARCH 24, 2024* Venue type: *Live, physical event*
*Anthology Film Archives*
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5:45pm ET,
32 Second Avenue, New York, NY
*EC: KUBELKA / LYE*
Peter Kubelka
*MOSAIC IN CONFIDENCE / MOSAIK IM VERTRAUEN* (1955, 16 min, 35mm, Made in
collaboration with Ferry Radax.)
*ADEBAR* (1957, 1 min, 35mm)
*SCHWECHATER* (1958, 1 min, 16mm)
*ARNULF RAINER* (1960, 7 min, 35mm)
*OUR TRIP TO AFRICA / UNSERE AFRIKAREISE* (1966, 12 min, 16mm)
“Peter Kubelka is the perfectionist of the film medium; and, as I honor
that quality above all others at this time finding such a lack of it now
elsewhere, I would simply like to say: Peter Kubelka is the world’s
greatest filmmaker – which is to say, simply: see his films!…by all
means/above all else…etcetera.” –Stan Brakhage
Len Lye
*TUSALAVA* (1929, 10 min, 16mm, silent)
*RHYTHM* (1957, 1 min, 16mm)
*FREE RADICALS* (1958/79, 4 min, 16mm)
A giant of experimental animation, Len Lye was born in New Zealand in 1901.
He moved to England in the 1920s and subsequently to New York in 1944,
where he spent the last 40 years of his life. A pioneer of ‘scratch’ or
‘direct’ filmmaking, Lye used various tools to mark patterns, shapes, and
images directly onto the film’s surface, and often explored the dynamic
energy of abstract images propelled into life by lively jazz scores or
Pacific-inspired rhythms.
Total running time: ca. 60 min
*___________________________________________________________________*
Venue type: *Live, physical event*
*San Francisco Cinematheque*
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7:30pm PT,
CounterPulse, 80 Turk St, San Francisco, CA
*LUTHER PRICE: NEW UTOPIA AND LIGHT FRACTURE, REMEMBERING LUTHER PRICE I*
Presented in association with CounterPulse, Tara Merenda Nelson in person
In celebration of Visual Studies Workshop’s publication of *Luther Price:
New Utopia and Light Fracture*, Cinematheque is thrilled to welcome VSW’s
Tara Merenda Nelson to present the slide work of Luther Price. A related
program: *Remembering Luther Price II: Two Films by Tom Rhoads* will screen
at Shapeshifters Cinema, Oakland on Thursday, March 28.
Luther Price (1962–2020) was a filmmaker known for deeply personal and
aggressively visceral film work. His early Super-8 films (some made as
pre-Luther identity Tom Rhoads), including *Jellyfish Sandwich*, *Sodom*,
*Green* and *Warm Broth*, enacted primal domestic psychodramas and/or
probed the psychosexual extremes of physical experience while later 16mm
found footage and hand-painted film work was equally overwhelming in its
obsessive physicality. In the last decade of his life, Price created
breathtaking collages on 35mm slides, combining the techniques he had
mastered in his film works to culminate in single frame
compositions—“rotted slides, slides of hair and dust, slides of dead ants,
slides made from old strips of film, slides filled with colored sugar*”
Virtually unseen locally, Price’s stunning work with slides is documented
in Visual Studies Workshop’s *Luther Price: New Utopia and Light Fracture*,
a 2023 publication featuring copious images derived from the depths of
Price’s 35mm collages as well as intimate email correspondence from Price
to VSW editor Tate Shaw 2017–18 and an essay by Ed Halter of Light
Industry, Brooklyn. In celebration of this publication, Cinematheque is
thrilled to present two sets of Price’s double-projected slides — *New
Utopia* and *Light Fracture* (both 2017) and to welcome Visual Studies
Workshop’s Tara Merenda Nelson to speak on the publication, the slides and
on Price. Two Super-8 films by Price — *Clown* (1990–2002) and the infamous
*Sodom* (1989) — will also screen.
*quotation from Ed Halter: *Yesterday Once More*, published in *Luther
Price: New Utopia and Light Fracture*.
*TUESDAY, MARCH 26, 2024* *March 26 - April 7*
Venue type: *Both physical and online*
Ann Arbor Film Festival
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various times + locations, see below
*62nd Ann Arbor Film Festival*
March 26-31 (in person) & March 26 - April 7 (online)
Presenting 10 feature films and 100 short films in competition in person
and online. Juror programs and selected other programs will be available
online. Additional in-person-only special programs, performances, panel
discussions, and exhibitions will be presented at the Michigan Theater,
State Theatre, and other locations in downtown Ann Arbor. Complete schedule
and tickets at the AAFF website linked above.
*WEDNESDAY, MARCH 27, 2024* *March 27 - 28 *
Venue type: *Live, physical event*
VISIONS
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7:30pm EST,
7080 rue Alexandra #506, H2S 3J5, Montreal, QC, Canada
*VISIONS presents EVA MARIE RØDBRO*
27.03.2024 | 7:30 : THE FILMS OF EVA MARIE RØDBRO
Doors 7:00 | Screening 7:30 | 75 mins | Digital screening | In the presence
of Eva Marie Rødbro.
*Dan Mark* | 2014 | digital | 29 mins
*Kriger *| 2013 | digital | 20 mins
*We Chose the Milky Way* | 2015 | digital | 26 mins
28.03.2024 | 7:30 : PLAY HARD
Doors 7:00 | Screening 7:30 | 60 mins | Digital screening | In the presence
of Eva Marie Rødbro.
[A short film programme proposed by EVA MARIE RØDBRO.]
*Wild Filly Story* - Josefin Arnell | 2020 | digital | 20 mins
*Cum in My Smile* - Mathias Broe | 2022 | digital | 3 mins
*The Republic of Tony Montana* - Masar Sohail | 2017 | digital | 15 mins
*Front View of My Father* - Nicoline Skotte | 2016 | digital | 29 mins
Co-presented by Fabrique-mondes & Critical Media Lab
*THURSDAY, MARCH 28, 2024* Venue type: *Live, physical event*
SF Cinematheque + Shapeshifters Cinema
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7:30pm PT,
Shapeshifters Cinema, 567 5th Street, Oakland, CA
*Two Films by Tom Rhoads, Remembering Luther Price II*
As an echo to *Luther Price: New Utopia and Light Fracture* (presented
Sunday, March 24 at CounterPulse) and in celebration of the life of
filmmaker Luther Price, Cinematheque proudly presents this rare screening
of early works by the artist’s pre-Price avatar Tom Rhoads.
“I actually changed my name to Luther Price [in 1987] because I couldn’t
make the film [*Sodom*] under the previous name. He was much too innocent
to make films like *Sodom*. Tom Rhoads, he made films about birthday cakes
and mothers. Luther was thinking about other things. He had a different
cake in mind.”*
Following a near-fatal shooting suffered in Nicaragua in 1985, the artist
later known as Luther Price (and previously known by myriad appellations,
including LA, Brigk Athey, Laija Brie and others) suspended his
physically-demanding sculptural/installation practice and turned to
filmmaking, adopting the persona Tom Rhoads. Just as obsessive and
fastidious as Price would later be, Rhoads immediately dove deeply into
Super-8 filmmaking, creating elaborate works which radically extrapolate on
home movie aesthetics while enacting primal domestic psychodramas and
complex expressions of familial portraiture and which assail audiences with
assaultive walls of mid-century American kitsch, aggressive audio collage
and gender-confounding drag performance. Screening to include *Green* and *Warm
Broth* (both 1988, both screened in Super-8mm) and the confounding
late-period Price work, *Dipping Sause* (2005), a fetishistic meditation on
the adversities of childhood in a godlessly mechanistic yet absurdly
mocking and humiliating universe. (Steve Polta)
**Luther Price: Lecture given at California College of the Arts, San
Francisco, November 12, 2012. Cited by Tanner Tafelski: “An Experimental
Filmmaker’s On-Screen Exorcisms.“*
SCREENING:
*Dipping Sause* (2005) by Luther Price; 16mm screened as digital video,
b&w, sound, 7 minutes
*Warm Broth* (1988) by Tom Rhoads; Super-8mm, color, sound, 36 minutes,
print from Canyon Cinema
*Green* (1988) by Tom Rhoads; Super-8mm, color, sound, 37 minutes, print
from Canyon Cinema
The two-part series *Remembering Luther Price* also celebrates the release
of two publications on the artist (both available from Cinematheque): *Luther
Price: New Utopia and Light Fracture* published by the Visual Studies
Workshop’s VSW Press/Film Art Book imprint and *Luther Price in San
Francisco: A Remembrance* published by San Francisco Cinematheque.
*___________________________________________________________________*
Venue type: *Both physical and online*
Visual Studies Workshop
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7pm ET,
Visual Studies Workshop, 31 Prince Street, Rochester, NY
*In Dialogue with Mara Ahmed*
Mara Ahmed is an interdisciplinary artist and award winning activist
filmmaker. Mara’s documentaries center marginalized voices and have focused
on communities grappling with nuanced experiences around racism,
colonization and islamophobia. She will present a program that incorporates
her work with postcards, lantern slides and films she has researched and
chosen from the VSW archive. Mara will also present clips from her latest
film, *Return to Sender: Women of Color in Colonial Postcards & the
Politics of Representation*, which was awarded a NYSCA film grant, and will
premiere at a future time in Rochester.
The evening will culminate in a discussion with Mara Ahmed facilitated by
Hernease Davis, the Assistant Curator of Education and Public Programs.
This program will also be livestreamed at
https://www.twitch.tv/visualstudiesworkshop
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*SATURDAY, MARCH 30, 2024* Venue type: *Live, physical event*
Anthology Film Archives
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5:15pm ET,
32 Second Avenue, New York, NY
*EC: GEORGE & MIKE KUCHAR*
All films in this program have been preserved by Anthology Film Archives
with support from the National Film Preservation Foundation.
*PUSSY ON A HOT TIN ROOF* 1961, 14 min, 8mm-to-16mm
“It glows with the embers of desire! It smokes with the revelation of men
and women longing for robust temptations that will make them sizzle into
maturity with a furnace-blast of unrestrained animalism. A film for young
and old to enjoy.” –George Kuchar
*TOOTSIES IN AUTUMN* 1963, 15 min, 8mm-to-16mm
A cautionary tale about past-their-prime thespians caught up in a typically
Kucharian vortex of madness.
*THE CONFESSIONS OF BABETTE* 1963, 15 min, 8mm-to-16mm
An early masterpiece by Mike Kuchar in which Babette tells all, leaving no
turgid stone unturned.
*ANITA NEEDS ME* 1963, 16 min, 8mm-to-16mm
“All the horrors and guilt of the human mind exposed! It reaches deep into
the workings of a woman’s cravings. Your emotions will be squeezed.”
–George Kuchar
Total running time: ca. 65 min.
[*THE CONFESSIONS OF BABETTE* and *ANITA NEEDS ME* are not part of the
Essential Cinema collection, but are included here as a special bonus.]
*___________________________________________________________________*
Venue type: *Live, physical event*
Anthology Film Archives
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7:15pm ET, 32 Second Avenue, New York, NY
*EC: GEORGE LANDOW, AKA OWEN LAND*
“The unique contribution of Land’s work lies in the fusion of intellectual
reason and, significantly, the humor that distances it from the supposedly
‘boring’ world of avant-garde film. Having explored the basic properties of
the celluloid strip itself in early works such as *FILM IN WHICH THERE
APPEAR…*, his attention turned to the spectator in a series of ‘literal’
films that question the illusionary nature of cinema through the use of
word play and visual ambiguity. His work often parodies experimental film
itself by mimicking his contemporaries and mocking the solemn approach of
film theorists and scholars.” –Mark Webber, TWO FILMS BY OWEN LAND
*FLEMING FALOON* (1963, 6 min, 16mm)
*FILM IN WHICH THERE APPEAR EDGE LETTERING, SPROCKET HOLES, DIRT PARTICLES,
ETC.* (1965-66, 5 min, 16mm, silent)
*DIPLOTERATOLOGY* (1967/78, 7 min, 16mm, silent)
*THE FILM THAT RISES TO THE SURFACE OF CLARIFIED BUTTER* (1968, 9 min, 16mm)
*INSTITUTIONAL QUALITY* (1969, 5 min, 16mm)
*REMEDIAL READING COMPREHENSION* (1970, 5 min, 16mm)
*WHAT’S WRONG WITH THIS PICTURE?* (1972, 13 min, 16mm)
*THANK YOU JESUS FOR THE ETERNAL PRESENT* (1973, 6 min, 16mm)
*A FILM OF THEIR 1973 SPRING TOUR COMMISSIONED BY CHRISTIAN WORLD
LIBERATION FRONT OF BERKELEY, CALIFORNIA* (1974, 11.5 min, 16mm)
*FILM IN WHICH…*, *INSTITUTIONAL QUALITY*, and *A FILM OF THEIR 1973 SPRING
TOUR…* have been preserved by Anthology Film Archives through the National
Film Preservation Foundation’s Avant-Garde Masters Grant program and The
Film Foundation. Funding provided by the Hobson/Lucas Family Foundation.
Total running time: ca. 70 min.
*___________________________________________________________________*
Venue type: *Live, physical event*
Other Cinema
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8pm PT,
ATA Gallery, 992 Valencia (@ 21st), San Francisco, CA
*X~PERI~MENTAL ANIMATION*
JEREMY ROURKE + KATHLEEN QUILLIAN + HARRY SMITH +
Our seasonal celebration of all things Animated is anchored on local
hero Jeremy Rourke's sensational set of pixillated eye-poppers, featuring
his new piece *Raindance Redux*, commissioned by the Orphan Film
Fest! Jeremy gigs, jigs, and zig-zags over our gallery pedestals in his
five-title, half-hour hullaballoo ending with a Toon Tune dedicated to dear
departed Helen Hill. Jeremy does a podium handstand in her honor! Kathleen
Quillian works those same pedestals with her *Ten Dollar Bill* zoetrope zinger,
with a live whirly-tube track! Esoteric alchemist Harry Smith's early
direct-animations are displayed in Paola Igliori's *American* *Magus*,
after we are treated to an eccentric history of animation masters: Winsor
McCay, Max Fleischer, Len Lye, Philip Stapp, Bruce Bickford, and Sally
Cruikshank's 1978 *Quasi at the Quackadero* (on 16mm!). Come early for free
candy, archival gems from CCA(C)'s Animation Department, and Jim Henson's
1968 *Time Piece*.
*SUNDAY, MARCH 31, 2024* Venue type: *Live, physical event*
Pacific Film Archive
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2PM PST,
2155 Center St, Berkeley, CA 94720
*Agnès Varda Shorts, Program 1*
This collection of early short works finds Agnès Varda observing people,
places, and spaces from France to Cuba. In *L’opéra-Mouffe*, she evokes the
“imaginative world of pregnancy” with a dreamlike montage that combines
poetic imagery with documentary portraits shot in the gritty neighborhood
of Rue Mouffetard. Capturing azure waters and lobster-skinned tourists in
the saturated hues of a vacation slide, the jaunty, witty *Du côté de la
côte* celebrates the beauty and absurdity of the Côte d’Azur, while *Ô
saisons, ô chateaux*, commissioned by the national tourism board to promote
the medieval castles of the Loire Valley region, is equally colorful and
playful. A collection of photographs Varda took on her visit to Cuba in the
winter of 1962–63 forms the basis of the innovative *Salut les Cubains*,
narrated by Varda and actor Michel Piccoli, which captures the
revolutionary spirit and reveals individuals alive with hope for the future.
*L’opéra-Mouffe*, 1958, 17min
*Ô saisons, ô chateaux*, 1958, 22min
*Du côté de la côte*, 1958, 24min
*Salut les Cubains*, 1964, 28min
*ONGOING*
Venue type: *Virtual, online event*
Riverwest Radio
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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
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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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