From: Weekly Listing (email suppressed)
Date: Sat Oct 06 2007 - 07:58:03 PDT
Part 2 of 2: This week [October 6 - 14, 2007] in avant garde cinema
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FRIDAY, OCTOBER 12, 2007
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10/12
Los Angeles, California: Redcat
http://www.redcat.org/
8pm, 631 W. 2nd St
QUEER NIGHT! 2 FEATURE FILMS! IN NEW CHINESE CINEMA SCREENING SERIES
Zhang Hanzi: Tang Tang China, 2004, 92 min., Betacam SP An alluring
mixture of documentary and fiction about the fabulous nights, grey
mornings and cross-gender love affairs of a drag queen—sorry, "reversed
role actor"—in Beijing. Cui Zi'en: Withered in a Blooming Season
(Shaonian Hua Cao Huang) China, 2005, 90 min. Betacam SP Cui, godfather
of the queer underground, blends melodrama and sassiness to depict a
post-socialist dysfunctional family in which love crosses the boundaries
of gender and propriety. As part of four day screening series New
Chinese Cinema: The Unofficial Stories of Tang Tang, Piggy, Little Moth
and Others Pan-Chinese cinema is coming of age now, with an explosion of
genres, formats, themes and talents. Exploring new and exhilarating
artistic paths or alternative sexualities, the films bear witness to the
tremendous changes experienced by Chinese society.
10/12
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
8:00, 32 Second Avenue (at Second Street)
FREE RADICALS: THE FILMS OF LEN LYE
Dir: LEN LYE. "Every film [I made], I tried to interest myself in it by
doing something not previously done in film technique." -Len Lye. Len
Lye (1901-1980) followed this experimental approach throughout his
career. A highly innovative painter, photographer, and poet, and one of
the most important figures in kinetic sculpture (another aspect of the
'art of motion' to which he devoted his life), Lye was a pioneer of
direct (camera-less) filmmaking, eventually expanding his direct
techniques from painting images directly onto his films to scratching
and stenciling them. In the words of Hilary Harris, "Lye's films are
outstanding in terms of kinetic rhythm, integrity, and what I call
aliveness." -Roger Horrocks. TUSALAVA (1929, 10 minutes, 16mm). "For two
years, between 1926-28, Len Lye completed more than 9,500 drawings for
this nine-minute animated film. The film was screened once in 1929.
Until it was screened again in 1967, TUSALAVA had become a forgotten
part of film history." -THE LEN LYE FOUNDATION. A COLOUR BOX (1935, 4
minutes, 16mm). The world's first film made without a camera. Lye
painted colorful designs onto celluloid, synchronizing them to dance
music. Presented courtesy of The British Post Office. KALEIDOSCOPE
(1935, 4 minutes, 16mm). A "direct" film, along the lines of A COLOUR
BOX. Made to promote Churchman cigarettes. THE BIRTH OF THE ROBOT (1936,
7 minutes, 16mm). An advertisement for Shell Motor Oil. Puppets and
models are brought to life by stop-frame animation, combined with
colorful backgrounds and visual effects. . RAINBOW DANCE (1936, 5
minutes, 16mm). Lye transformed this original black-and-white footage
into a film of complex color patterns by manipulating the three matrices
of the Gasparcolor system. Presented courtesy of The British Post
Office. TRADE TATTOO (1937, 5 minutes, 16mm). The original
black-and-white footage for TRADE TATTOO consisted of outtakes from GPO
Film Unit documentaries, which Lye transformed by color processing
methods similar to those used in RAINBOW DANCE. Presented courtesy of
The British Post Office. N. OR N.W. (1937, 7 minutes, 16mm). A
live-action film about a quarrel between young lovers. Presented
courtesy of The British Post Office. COLOUR FLIGHT (1938, 4 minutes,
16mm). "This riot of color was a showcase for Lye's hand-painted and
stenciled imagery." -Roger Horrocks. SWINGING THE LAMBETH WALK (1939, 4
minutes, 16mm). Lye matched different styles of 'direct' film imagery
with various versions of Lambeth Walk, a popular dance of the period.
MUSICAL POSTER #1 (1940, 3 minutes, 16mm). During WWII, MUSICAL POSTER
#1 was screened in cinemas, factories and village halls. It ends by
cautioning against spies who listen to conversations. COLOUR CRY
(1952-3, 3 minutes, 16mm). A new type of "direct" film, made by the
'rayogram' or 'shadow cast' process. Patterns were created by placing
stencils and coloured gels over the film. TAL FARLOW (1950s/revised
1980, 2 minutes, 16mm). Lye created the geometric, scratched images for
this direct film in the 1950s. He revisited the material in 1980 but was
unable to finish his work before he died. His assistant Steven Jones
completed TAL FARLOW under the supervision of Anne Lye. RHYTHM (1957, 1
minute, 16mm). A publicity film for Chrysler condenses the assembly of a
car from months to one minute. FREE RADICALS (1958/revised 1979, 4
minutes, 16mm). Made without a camera by scratching designs onto black
leader using a variety of tools ranging from Indian arrowheads to dental
instruments. "An almost unbelievable, immense masterpiece." -Stan
Brakhage. PARTICLES IN SPACE (1957/revised 1979, 4 minutes, 16mm). "All
of a sudden it hit me - if there was such a thing as composing music,
there could be such a thing as composing motion. After all, there are
melodic figures, why can't there be figures of motion? ..I hadn't the
foggiest idea what they were all about and simply called them particles
in space." -Len Lye.
10/12
San Francisco, California: San Francisco Cinematheque
http://www.sfcinematheque.org
3:00pm, SFMOMA, 151 Third Street
JOSEPH CORNELL: ESSENTIAL CINEMA FROM ANTHOLOGY FILM ARCHIVES: PROGRAM
ONE
Shortly before his death in 1972, Cornell gifted his own films as well
as his extensive film collection to Anthology Film Archives. Much of
this work has been preserved by that institution and is exhibited
regularly at that venue. These programs represent two of these recurring
screenings."What Cornell's movies are is the essence of a home movie.
They deal with things very close to us, every day and everywhere. Small
things, not the big things. Not wars, not stormy emotions, dramatic
clashes or situations. His images are much simpler. [...] The boxes, the
collages, the home movies of Joseph Cornell are the invisible cathedrals
of our age. That is, they are almost invisible, as are all the best
things that man can still find today: They are almost invisible unless
you look for them." (Jonas Mekas, 1970) Screening: Rose Hobart,
Cotillion, The Midnight Party, The Children's Party, Aviary, Nymphlight,
A Legend for Fountains, Angel and GniR RednoW.
10/12
San Francisco, California: Artists Television Access
http://www.atasite.org/
8pm, 992 Valencia St
2ND ATA FILM AND VIDEO FESTIVAL
San Francisco, CA. Artists' Television Access' 2nd annual ATA Film and
Video Festival celebrates experimental films and filmmakers with a party
and the showcasing of 34 short, original, independent and underground
films by local, national, and international artists. This year's 26
short films include the surreal "Silly Boy Slap Party" by Guy Maddin,
the wordless and miraculous "Paradise Drift" by Martin Hansen, the 4000
hand-made collage animation "Phantom Canyon" by Stacy Steers, and "The
Apollos", a student documentary about the 1981 Oakland Tech High School
class that fought successfully to make Martin Luther King Day a holiday.
In addition to the screenings, during the month of October the work of 8
experimental video artists will be on display in the ATA store-front
window. ATA, 992 Valencia and 21st Streets (SF, CA). Wed. October 10th,
Thursday the 11th, and Friday the 12th doors open at 7.30pm every night.
Screenings start at 8pm. Opening night party from 7.30pm to 10pm, film
premiere at 8.30pm (aprox. duration 30 min). Tickets are $5 for the
Opening Party and $7-$10 for the screenings. Friday, October 12, 2007:
"Mnemonics" Photo-Synthesis (Lisa Danker); Window (Lukas Lukasik); 1,2,3
Solution(Tommy Becker); Iceland (Fabienne Gautier); Candy Apple
(K.Laitala's SFAI Optical Techniques for Film Class project (Spring
2007)); Flight Home (Tadashi Moriyama); Traces (Hubert Sielecki); Echo
Park (Paul Clipson). "States of Matter" Pursuant To The Subsection
(Gordon Winiemko); Better To Kiss You With,My Dear (Dina Ropele); I, A
Director (Rachel Manera); Sissy Boy Slap Party (Guy Maddin); Phantom
Canyon (Stacey Steers); Bulb In The Head (Melika Bass); 5 Cents A Peek
(Vanessa Woods).
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SATURDAY, OCTOBER 13, 2007
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10/13
Brussels: ARGOS
http://www.argosarts.org
20:30, BOZAR Brussels
TONY CONRAD PERFORMANCE FORTY-FIVE YEARS ON THE INFINITE PLAIN
Sa 13.10.2007 // 20:30 Tony Conrad & guest musicians: Forty-five Years
on the Infinite Plain (1972-2007) Paleis voor Schone Kunsten / Palais
des Beaux-Art entry fee: 9/7 euro organised by ARGOS (www.argosarts.org)
and BOZAR CINEMA (www.bozar.be) The influence of violinist, composer,
film and videomaker Tony Conrad (US, 1940) cannot be overestimated: he
was one of the originators of the Minimalist music movement and a key
figure in the experimental film scene in New York during the 1960s. He
was co-founder of the 'Theatre of Eternal Music' collective (with John
Cale, LaMonte Young and Angus MacLise), which developed a new musical
language counter to any existing conventions of the time, and labeled as
"dream music". Music was thus set free from the stronghold of musical
'high' culture, by putting improvisation and participation above
compositional authoritarianism, and by focusing on the aspect of
listening itself through a new use of harmonic intervals. With his
audiovisual Conrad also questions and undermines the laws of looking and
listening. In his best-known film, The Flicker (1966), he searched for a
visual equivalent of musical consonance, which resulted in a bombardment
of stroboscopic flashes, producing optical color effects in their turn.
After his collaboration with the Krautrock formation Faust during the
1970s Conrad chose to lecture full time at the media faculty of Buffalo
University. Since his work was brought back to attention in the 1990s he
is more active than ever in a wide range of areas. Created in New York
in 1972, the performance Ten Years Alive on the Infinite Plain seems to
be the ideal synthesis of Tony Conrad's research: his structural
approach to cinema unites with his minimal and open approach to music.
Four projectors showing a hypnotic and flashing film loop are joined by
musicians, producing continuous sound chords. The result is a suspended
audiovisual environment, which is reflective and unravels very slowly;
"very meditational and very terrific", as Conrad put it himself. This
event creates a great opportunity to live this historic performance,
never presented in Belgium, in a revised form : Forty-five Years on the
Infinite Plain. As Conrad explains himself : "In revising "Ten" to
"Forty-five", I am addressing a broader chronological perspective,
relocating to a different social allegory, and accessing the plural
tools that encompass a more contemporary "minimalism." The "subject"
that is, the viewer—is still at the center of the work; but now the
polyvalence of subjectivity is recognized in a figural usage of
heterophony and antiphony. A solo cello challenges the lead instrument,
and the audience area is divided in half. Musical figures invoke
divisiveness, over the unitary ground of the drone. There are two
distinct rhythms to follow, further dividing the subject's attention.
These elements of what would have been seen in 1972 as "confusion"
instead, i n today's heterotopia, reflect and invite access to a
subjectivity that is more "true to life," more centered on the plain
where we stand." "A work that relates to time but exists independent of
points in time refers to the obverse side of time, beyond the
possibility of measuring it with markings: duration. Yet unmeasured
duration, in principle, is a kingdom entirely at the command of the
recipient and his or her subjectivity." Diedrich Diedrichsen, Time and
Dream: Tony Conrad's Yellow Movies Ten Years Alive on the Infinite Plain
(1972), like some other works of the psychedelic era, commingles starkly
formal abstraction with introspective romanticism. Its insistent
conflation of quasi-religious spectacle with materialist minimalism
follows a path marked out by Rothko, Cage, Andre, and many others. Today
these elements have lost their radicalism; even the political conviction
of that time, that such work could make contact, through its spiritual
insistence, "with the political real behind the culture of commodity and
spectacle" (as Diedrichsen puts it), seems problematic and thin. please
contact Stoffel Debuysere - email suppressed for more info
10/13
Buffalo, New York: Hallwalls
http://www.hallwalls.org
7pm, 341 Delaware Ave.
BEYOND/IN WESTERN NEW YORK MEDIA ARTIST MICHAEL SNOW AT HALLWALLS
As part of Buffalo's regional biennial Beyond/In Western New York,
Hallwalls Contemporary Arts Center is pleased to host an evening with
media artist Michael Snow—our first-ever visiting filmmaker (January
1975!). Snow, whose "SSHTOORRTY" (2005) is also installed at the
Albright Knox Art Gallery, returns to Hallwalls on Saturday, October 13,
2007 at 7pm to present a selection of recent works. The screening
includes the digital short "The Living Room" (2000); "Triage" (16mm
2004), a dual projection and collaboration with Canadian filmmaker Carl
Brown and composer John Kamevaar; and "REVERBERLIN" (2006), his feature
length work that integrates footage of CCMC, the free improvisation
music ensemble co-founded by Snow in 1974. In addition to Snow,
Hallwalls will also host presentations and performances by Beyond/In
media artists Stephanie Rothenberg (Oct. 4 at 8pm), Jeremy Bailey (Oct.
20 at 8pm), and Dorothea Braemer (Nov. 3 at 8pm). For more info please
visit: www.hallwalls.org/media-arts.html Seating in our intimate cinema
is limited. For advanced tickets, please call Hallwalls Media Arts
Director Carolyn Tennant at 716-854-1694 or at carolyn [at]
hallwalls.org
10/13
Los Angeles, California: Redcat
http://www.redcat.org/
2pm- Midnight, 631 W. 2nd St
FESTIVAL AWARD WINNERS MARATHON
A quartet of award winners—from the Locarno, Tokyo, Vienna and Cannes
festivals—are questioning gender and family relationships and the place
of women in contemporary China. Each screening: $9 [students $7] Sat
Marathon: $9 for one film, $13 for two, $17 for three and $20 for all
four films 2 pm Screening Sheng Zhimin: Bliss (Fu Sheng) Hong
Kong/China, 2006, 96 min., 35mm A man receives the ashes of his ex-wife;
a young delinquent discovers love; a couple is in a crisis. In Sheng's
sensitive, multilayered drama, bliss comes in subtle yet illuminating
ways. 4:00 pm Screening Zhang Lu: Grain in Ear (Mang Zhong) China/South
Korea, 2005, 110 min., 35mm A young Korean-Chinese woman lives with her
little boy on the city outskirts, selling kimchi. Long takes and
painterly compositions suggest her complex interior life—with a twist!
7:45 pm Screening Li Yu: Dam Street (Hong Yan) China, 2005, 93 min.,
35mm A major female voice in Chinese cinema, Li deciphers the troubled
personal life of a young singer in a down-and-out Sichuan opera troupe.
9:45 pm Screening Ying Liang and Peng Shan: The Other Half (Ling Yiban)
China, 2006, 111 min., DVCAM Through frontal composition, fractured
narration and a savvy mixture of documentary and fiction, the film shows
how sexual impasse and industrial catastrophes intersect in a Sichuan
town.
10/13
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
6:00, 32 Second Avenue (at Second Street)
FILMS BY BRUCE BAILLIE
Dir: Bruce Baillie. MASS FOR THE DAKOTA SIOUX (1963-64, 21 minutes,
16mm) . QUIXOTE (1964-65, 45 minutes, 16mm). Meditations on America by a
filmmaker whom Willard van Dyke once called the most American of all
contemporary filmmakers. Annette Michelson has referred to Bruce Baillie
as one of the few American political filmmakers.
10/13
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
8:00, 32 Second Avenue (at Second Street)
EXPLOSIONS INTO COLOR: NEW ZEALAND EXPERIMENTAL FILM 1980-84
In the early 1980s a generation of filmmakers emerged in New Zealand
mixing art world sensibilities with cinema. Writing about his film MOUTH
MUSIC, director Gregor Nicholas cited references "made in the spirit of
affection and irony" to filmmakers including Carl Dreyer, Kenneth Anger
and Andy Warhol. While EXPLOSIONS INTO COLOR demonstrates the influence
of the 20th century avant-garde cinema in New Zealand, it also captures
a group of filmmakers in tune with contemporary themes of race, politics
and industrial culture. . Please note that all films are shown on video.
Original formats are noted for each title. City Group MONKEY (1978, 9
minutes, Super 8mm). City Group was an Auckland-based collective of
artists and filmmakers that emerged in the early 80s with the production
of a number of radical non-narrative films. . City Group SPRINGBOK
(1981, 15 minutes, Super 8mm). Springbok combines dance, symbolic
figures of fascism and a discordant soundtrack in an eerie and dark
meditation on racial intolerance. . Richard Von Sturmer, Charlotte
Wrightson, Derek Ward THE SEARCH FOR OTTO (1986, 16 minutes, Super 8mm).
A woman develops an obsession with a masculine figure from her dreams
who escapes into the imaginative world of an Egyptian landscape, leaving
behind a series of objects, a punching bag, an ashtray, an open book..
Gregor Nicholas MOUTH MUSIC (1981, 15 minutes, 16mm). MOUTH MUSIC opens
with a series of brilliantly lit talking heads, accompanied by music,
followed by an abstract series of images: a body builder, a woman, a
painter at work, a couple arguing. Chris Knox TURNING BROWN AND TORN IN
TWO (1983, 4 minutes, 16mm). Inspired by the strobe energy of Tony
Conrad's THE FLICKER and the direct-to-film techniques of Len Lye, Knox
mixes live-action, collage, stop-motion and animation to create films
that double as music videos. Gregor Nicholas BODYSPEAK (1983, 10
minutes, 16mm). BODYSPEAK juxtaposes elaborate dances from different
cultures (a Samoan ceremonial dance, a drum dance from the Cook Islands,
and a Tango). Fetus Productions FLICKER (1985, 4 minutes, 16mm).
Emerging in the late 1970s, Fetus Productions traversed music, art,
experimental film and fashion, and played a key role in the development
of international Industrial Culture.
10/13
San Francisco, California: Other Cinema
http://www.othercinema.com/
8:30 pm, 992 Valencia Street
E X P A N D E D CINEMA SPECTACULAR
We're hoisting our super-wide screen for—count 'em—FOUR
double-projection performances in this ambitious celebration of cinema
in real time. Katherin McInnis and Ben Furstenberg debut a stereoscopic
psychogeographic tour of the Mission's legendary Woodward Gardens. Kerry
Laitala and Stephen Parr juxtapose 16mm Sex-Ed films—male and female—in
Human Sexual Response. Eliot Daughtry and Kriss De Jong of Killer
Banshee engage in a live twin-image audio-visual dialogue, The Effort
Was in Peril, whilst Thurston Graham conjures up sonic counterpoint.
Melinda Stone and Sam Sharkey open the show with a new bouncing-ball
sing-a-long. Come early to sip absinthe and interact with Craig
Baldwin's Robo-strobo-scope! *$7.
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SUNDAY, OCTOBER 14, 2007
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10/14
Brussels: ARGOS
http://www.argosarts.org
18:00, ARGOS Brussels
A SUNDAY AFTERNOON WITH TONY CONRAD
Su 14.10.2007 // 18:00 A Sunday Afternoon with Tony Conrad organised by
ARGOS (www.argosarts.org) and BOZAR Cinema (www.bozar.be) During the
last film festival in Rotterdam, Tony Conrad electrocuted a film reel,
which produced light flashes and sparks. He then developed the images in
a bucket and screened them before a baffled and highly amused audience.
Apart from lecturing at Buffalo University, New York, this filmmaker,
video maker and musician is also a brilliant pedagogue with an inspiring
sense of humour. This lecture is the perfect introduction to Tony
Conrad's work, a trajectory through over forty years of radical
creation.
10/14
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
7:00 pm, Egyptian Theatre, 6712 Hollywood Blvd. at Las Palmas
CATCHING UP WITH JAMES BENNING - TEN SKIES
Ten Skies (2004, 16mm, color, sound, 109 minutes). Ten ten-minute static
shots - ten different skies, as they are affected by the landscapes and
the atmospheric/ environmental conditions below them.
10/14
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
5:00, 32 Second Avenue (at Second Street)
FILMS IN REAL TIME 1970-79
In the early 1970s the New Zealand art world began to blossom. During
this time a post-object art movement was emerging, wherein artists
turned their attention to performance activities. FILMS IN REAL TIME
documents a range of activities from musical performance to the rigors
of physical labor, sometimes completely raw and unedited, at other times
crafted into records of time and place. Please note that all films are
shown on video. Original formats are noted for each title. . Leon Narbey
A FILM OF REAL TIME. A LIGHT SOUND ENVIRONMENT (1970, 9 minutes, 16mm).
Philip Dadson EARTHWORKS. TEMPORARY INSTANT IN THE CONTINUUM OF
UNIVERSAL EBB AND FLOW (1971, 12 minutes, 16mm). Darcy Lange RUATORIA
PART 2 / SHEARING PEKAMA (1974, 9 minutes, video). Gray Nicol DUCK
CALLING (1978, 4 minutes, video). Andrew Drummond NGAURANGA SET. 20
DIRECTIONS IN AN ENCLOSURE (1978, 6 minutes, video). Ted Nia [NEW
DIRECTIONS IN NZ MUSIC OCTOBER-NOVEMBER 1979. FROM SCRATCH - DRUMWHEEL]
(1979, 13 minutes, video). Bruce Barber WHATIPU BEACH PERFORMANCE (1973,
9 minutes, Super 8mm).
10/14
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30, 32 Second Avenue (at Second Street)
SCRATCHING THE SURFACE: EXPERIMENTS IN NEW ZEALAND ANIMATION AFTER LEN
LYE
In 2007 Len Lye stands as the pioneer, inspiration and point of
reference for animation in New Zealand. While the influence of Lye's
film work remains undisputed, SCRATCHING THE SURFACE reveals a handful
of New Zealand animators with independent visions. . All films are
presented on Beta. Original formats are noted for each title. John Henry
STRATUS (from IMAGES) (1976, 10 minutes, video). STRATUS is one-third of
a three-part videotape of elaborate abstract patterns with a jazz fusion
soundtrack by Billy Cobham. Lissa Mitchell / Pictorial Research Group
BOWL ME OVER (1995, 6 minutes, 16mm). A mini-epic South Island
travelogue/road movie and homage to artists Colin McCahon, Mina Arndt
and Rita Angus, by Wellington film maker Lissa Mitchell. Chris Knox
NOTHING'S GOING TO HAPPEN (1981, 4 minutes, 16mm). Alternative music
icon Chris Knox creates a piece of stop-motion absurdism in this music
video for his band Tall Dwarfs. Chris Knox PHIL'S DISEASE DAY 1 (1981, 2
minutes, 16mm). "I've got these pains.." Here Knox animates a stream of
consciousness for the song PHIL'S DISEASE DAY 1. Lisa Reihana WOG
FEATURES (1990, 7 minutes, 16mm). "WOG FEATURES uses animation and live
action to address racism in culture and gender.. This politicised look
at culture is almost on the edge of profanity." -Lisa Reihana . Douglas
Bagnall / Pictorial Research Group THE FIRST FILM (1992, 3 minutes,
Super 8mm). A soundtrack of crashing noise, bells, and distortion
provides the background for streams of mosaic patterns that form and
decay in startling succession. Glenn Standring LENNY MINUTE ONE (1993,
12 minutes, 16mm). "Private Eye Lenny Minute is drawn into a web of
surreal intrigue after a series of murders, leading him to confront the
woman of his dreams as the first swords are drawn in the war between the
sexes." -Glenn Standring. May Trubuhovich FELINE (1997, 6 minutes,
16mm). A remarkable piece of claymation, FELINE investigates the
possibilities of changing oneself in a world where physicality and
identity are fluid.
10/14
San Francisco, California: San Francisco Cinematheque
http://www.sfcinematheque.org
7:30pm, Yerba Buena Center for the Arts, 701 Mission Street (corner of Third)
NEW FILMS FROM CANYON CINEMA
Tonight's program includes a sampling of new films recently placed into
distribution with Canyon Cinema. All the works presented will be shown
in 16mm or 35mm format to honor Canyon Cinema's devotion to promotion of
the distribution and projection of motion picture film. Screening:
Kosmos by Thorsten Fleisch, SSHTOORRTY by Michael Snow, Hot Leatherette
by Robert Nelson, Bouquets 21-30 by Rose Lowder, Orchard by Julie
Murray, Startle Pattern by Eric Patrick, You Be Mother by Sarah Pucill,
Errata by Alexander Stewart, Ber-Lin 99/00 by Andre Lehmann.
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__________________________________________________________________
For info on FrameWorks, contact Pip Chodorov at <email suppressed>.