From: Weekly Listing (email suppressed)
Date: Sat Nov 15 2008 - 08:10:57 PST
Part 1 of 2: This week [November 15 - 23, 2008] in avant garde cinema
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Enter your announcements (calls for entries, new work, screenings,
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NEW FILM/VIDEO: FEATURE:
========================
"The Philosophers Stone" by Raymond Salvatore Harmon
http://www.hi-beam.net/cgi-bin/ann.pl?type=newworkf&readfile=114.ann
"Taking Time a real time digital seascape" by Chris Welsby
http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=358.ann
"Heaven's Breath Digital Media Installation" by Chris Welsby
http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=359.ann
"Trees in Winter A digital media installation" by Chris Welsby
http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=360.ann
JOB AVAILABLE:
==============
SUNY Fredonia
http://www.hi-beam.net/cgi-bin/ann.pl?type=jobs&readfile=42.ann
Massachusetts College of Art and Design
http://www.hi-beam.net/cgi-bin/ann.pl?type=jobs&readfile=41.ann
ITEM FOR SALE:
==============
Royalty Free Music Collection
http://www.hi-beam.net/cgi-bin/ann.pl?type=sale&readfile=11.ann
NEW CALLS FOR ENTRIES:
=====================
South by Southwest Film Festival (Austin, TX; Deadline: December 12, 2008)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=954.ann
Fargo Film Festival (Fargo, ND, USA; Deadline: January 01, 2009)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=955.ann
Curtas Vila do Conde (Vila do Conde, Portugal; Deadline: April 06, 2009)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=956.ann
Media Artists (Fort Lauderdale, FL USA; Deadline: December 05, 2008)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=957.ann
The European Independent Film Festival (Paris, France; Deadline: December 15, 2008)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=958.ann
MEDIA CITY (Windsor, Ontario, Canada; Deadline: February 20, 2009)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=959.ann
Main Line Film Festival (Wayne, PA, USA; Deadline: January 31, 2009)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=960.ann
Magmart | video under volcano (Naples, Italy; Deadline: January 15, 2009)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=961.ann
$100 Film Festival (Calgary, AB CANADA; Deadline: December 02, 2008)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=962.ann
DEADLINES APPROACHING:
======================
28th Black Maria Film + Video Festival (Jersey City, NJ, USA; Deadline: November 24, 2008)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=916.ann
MAGA / Macon Georgia Film Festival (Macon, Georgia USA; Deadline: November 15, 2008)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=919.ann
Cleveland International Film Festival (Cleveland, OH USA; Deadline: November 30, 2008)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=927.ann
Hinterland Film Festival (Montague, MA, USA; Deadline: December 01, 2008)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=936.ann
Post-Postcard 12 at The LAB OPEN INVITATIONAL (San Francisco, CA 94114; Deadline: November 22, 2008)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=938.ann
Wisconsin Film Festival (Madison, WI, USA; Deadline: December 01, 2008)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=943.ann
MadCat Women's International Film Festival (NY, NY USA; Deadline: November 17, 2008)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=945.ann
Kansas City FilmFest (Kansas City, MO USA; Deadline: November 15, 2008)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=947.ann
The 8 Fest (Toronto, Ontario, CANADA; Deadline: November 15, 2008)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=948.ann
47th Ann Arbor Film Festival (Ann Arbor, MI, USA; Deadline: November 15, 2008)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=949.ann
Gallery RFD (Swainsboro, GA; Deadline: November 28, 2008)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=951.ann
Migrating Forms (New York, NY, USA; Deadline: December 15, 2008)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=953.ann
South by Southwest Film Festival (Austin, TX; Deadline: December 12, 2008)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=954.ann
Media Artists (Fort Lauderdale, FL USA; Deadline: December 05, 2008)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=957.ann
The European Independent Film Festival (Paris, France; Deadline: December 15, 2008)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=958.ann
$100 Film Festival (Calgary, AB CANADA; Deadline: December 02, 2008)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=962.ann
Enter your event announcements by going to the Flicker Weekly Listing Form
at http://www.hi-beam.net/cgi-bin/thisweek.pl
Also available online at Flicker: http://www.hi-beam.net
THIS WEEK'S PROGRAMS (SUMMARY):
==============================
* Los Angeles As A Character [November 15, Los Angeles, California]
* Moving Figures: the Animated World of Robert Breer [November 15, Los Angeles, California]
* Paper Cannot Wrap Up Embers [November 15, New York, New York]
* Peace With Seals [November 15, New York, New York]
* Alone In Four Walls [November 15, New York, New York]
* Umbrella By Du Haibin [November 15, New York, New York]
* Sinking village, Recycle, the Pests - Short Films [November 15, New York, New York]
* Alex Rivera's Sleep Dealer + [November 15, San Francisco, California]
* Moving Figures: the Animated World of Robert Breer – Part 3 [November 16, Los Angeles, California]
* Gandhi's Children By David Macdougall [November 16, New York, New York]
* The Lost Colony [November 16, New York, New York]
* Throw Down Your Heart (Featuring BéLa Fleck) [November 16, New York, New York]
* An Evening With Robert Todd [November 17, Cambridge, Massachusetts]
* An Evening With Kenneth Anger: Dangerous Cinema [November 17, Los Angeles, California]
* Postcards From True North [November 18, Amsterdam]
* Mike Kuchar In Person [November 18, Reading, Pennsylvania]
* After School Special [November 18, Vancouver, British Columbia]
* Teenage Wildlife [November 19, London, England]
* Launche Event of One Minute (Volume 2) & Teenage Wildlife [November 19, London, England]
* Experiments In Terror (Expanded Edition) [November 19, Los Angeles, California]
* Magic Lantern Presentes: the Aftermath Show (11/19, Not 11/11 As
Originally Posted!!) [November 19, Providence]
* The Free Screen - the Experimental Cinema of Paolo Gioli [November 19, Toronto, Ontario, Canada]
* The Presentation theme: New & Old Films By Jim Trainor [November 20, Chicago, Illinois]
* Paul Mccarthy and Damon Mccarthy: Caribbean Pirates [November 20, Los Angeles, California]
* Music By the Eyeful : Image To Sound : Sound To Image [November 20, San Francisco, California]
* Notes On Composing: 5 Collaborations In Film and Music [November 21, Amsterdam]
* Colour Field Film and video [November 21, London, England]
* Paul Mccarthy and Damon Mccarthy: Caribbean Pirates [November 21, Los Angeles, California]
* Radisrose [November 21, Paris, France]
* Video Works By Wago Kreider [November 21, San Francisco, California]
* Urban Image Showcase - Open Call [November 22, Cape May, NJ]
* Open Screening [November 22, Chicago, Illinois]
* Paul Mccarthy and Damon Mccarthy: Caribbean Pirates [November 22, Los Angeles, California]
* Underworld Cinema: the Life and Work of J.X. Williams [November 22, Los Angeles, California]
* Trevor Paglen's the Heavens Above + [November 22, San Francisco, California]
* Filmforum Presents Coleen Fitzgibbon: Internal Systems [November 23, Los Angeles, California]
* Scott Macdonald On the Spirit of Canyon Cinema [November 23, San Francisco, California]
* How We Fight: Program 5: Mercenaries [November 23, San Francisco, California]
Events are sorted by CITY within each DATE.
---------------------------
SATURDAY, NOVEMBER 15, 2008
---------------------------
11/15
Los Angeles, California: Echo Park Film Center
http://www.echoparkfilmcenter.org/
8:00 PM, 1200 Alvarado Street
LOS ANGELES AS A CHARACTER
LOS ANGELES AS A CHARACTER is a one-night only screening that will
showcase narrative, experimental and documentary short films and videos
with the city of Los Angeles as a peripheral or central, theme, backdrop
or character. The following 14 films will be screened: "Dance, Eli,
Dance" (2005) – Ava Hess; "Dichotomy" (2008) – Van Veng; "Hair Cowboy"
(2008) – Patrick Robins; "I Remember Venice" (2008) – Will O'Loughlen;
"Intoxicated Demons"(2005) – Donlee Brussell; "Iris:Los Angeles" –
(2005) Valentina Martin; "Memories of an Undefined Image" (2007) – Mason
Chadwick Shefa; "Moose, Indian" (2006) – Nicholas Kokich; "Mr.
Freeway"(2008) – Kenneth Hughes; "Palm Tree Song Line" (2008) – Dagie
Brundert; "Roger" (2007) – Jennifer Stefanisko; "Rollingman" (2000) –
Mike Sakamoto; "Some Los Angeles Apartments and a Dorm" (2003)– Laura
Daroca; "Westsider" (2007) – Charles Doran More information on the films
and filmmakers can be found here: www.LAasaCharacter.org
11/15
Los Angeles, California: UCLA Film and Television Archive
http://www.cinema.ucla.edu
7:30pm, Billy Wilder Theater / Hammer Museum, 10899 Wilshire Blvd.
MOVING FIGURES: THE ANIMATED WORLD OF ROBERT BREER
Robert Breer, one of America's foremost independent filmmakers for more
than 50 years, will pay a rare visit to Los Angeles to attend a
multi-venue celebration of his work. A close colleague of Rauschenberg,
Oldenburg and other seminal artists of the 1950s and '60s, Breer has
brought a comparably imaginative and rigorous appreciation for collage
and pure form to the art of cinema. Throughout a body of more than 40
animated--and in many ways anti-animated films--Breer celebrates cinema
as a unique way of seeing and the act of drawing as a richly expressive
and unpredictable personal gesture. Tonight's program includes the
majority of films Breer released between 1974 and 2003, a period of
remarkable growth and sustained artistic activity. In person: Robert
Breer. Part of a three-program retrospective organized by Steve Anker.
Additional screenings will be held at Los Angeles Filmforum and REDCAT.
FUJI (1974) "A poetic, rhythmic, riveting achievement (in rotoscope and
abstract animation), in which fragments of landscapes, passengers, and
train interiors blend into a magical color dream of a voyage. One of the
most important works by a master who - like Conner, Brakhage, Broughton
- spans several avant-gardes in his ever more perfect explorations." --
Amos Vogel 35mm (blow-up from 16mm), 9 min. LMNO (1978) "[A] French
gendarme weaves a hapless path through the film's strobe attacks,
disparate drawing styles, and variable scale .... Framed by underwater
and travel imagery, the central section's faucets and aerosols,
collapsing tents and outsized croquet games, breakfast foods and sexual
violence, all suggest domestic frustration." - J. Hoberman, The Village
Voice 16mm, 10 min. T.Z. (1979) "An elegant home movie, its subject is
Breer's new apartment which faces the Tappan Zee (T.Z.) bridge. It is
permeated, as are all his films, with subtle humor, eroticism and a
sense of imminent chaos and catastrophe."--Amy Taubin, Artforum 16mm, 9
min. TRIAL BALLOONS (1982) A mix of rephotographed live action and
animation using hand-cut traveling mattes.--Canyon Cinema Catalogue.
16mm, 6 min. BANG! (1986) "Bang reveals Breer at his most accomplished
and most playful. It is also his most autobiographical film - the
youngster paddling a boat is Breer as a boy and the pencil cartoon
sequences were drawn by Breer when he was around ten years old. "Robert
Breer is the godfather of animation art. In Bang he sustains ten dense
minutes of collagistic mayhem that's as potent as anything he's ever
done. Television images of a boy paddling a boat and an arena crowd
cheering, plus film shots of bright pink and red flowers and a toy
phone, are intercut with frenetic drawings in Breer's trademark heavy
crayon, principally of baseball games. Breer inserts a photo of himself
with a question mark scrawled over his head, accompanied by the words
'Don't be smart.' But he can't help it - he is."--Katherine Dieckmann,
The Village Voice 16mm, 10 min. A FROG ON THE SWING (1989) This animated
fable is centered around a backyard pond shown intermittently in
live-action scenes. A small child appears and disappears in a ballet of
crows, rabbits, monkey wrenches, and goldfish. When the police arrive
there are pot-shots at backyard varmits, but the frog on the swing seems
to survive it all. As usual in Breer films, the soundtrack is often
conspicuously out of sync with the picture. Or is it vice versa when a
crow goes "moo?"--Canyon Cinema Catalogue. 16mm, 5 min. TIME FLIES
(1997) A playful meditation on loved ones and the passing of the years.
16mm, 5 min. ATOZ (2000) A short film dedicated to his granddaughter Zoë
that demonstrates all the characteristic traits of Breer's animation:
his humour, his favourite motifs (the hammer, a frog, graphic shapes,
aeroplanes). What is the impact of an order such as the alphabet on the
awakening mind of a child?--International Film Festival Rotterdam. 16mm,
5 min. WHAT GOES UP (2003) Breer's personal take on the everyday in
images that zoom past us like a flashback of a thousand perfectly lived
moments, a four-minute epic. The final scene of a derailed train
provides a metaphor for the absurdity of the notion that a big,
beautiful, well-lived life simply runs out. --International Film
Festival Rotterdam. 16mm, 5 min.
11/15
New York, New York: Margaret Mead Film & Video Festival
http://www.amnh.org/mead
4:30 pm, American Museum of Natural History 79th and Central Park West
PAPER CANNOT WRAP UP EMBERS
The Margaret Mead Film & Video Festival presents Paper Cannot Wrap Up
Embers by Rithy Panh. A master documentary filmmaker Panh never shies
away from the nuances born of melding documentary and narrative genres.
Continuing his masterful exploration of contemporary Cambodia and the
legacy of its recent past through the stories of young women forced into
prostitution to survive. Living in the wake of the Khmer Rouge and beset
by the juggernaut of global capitalism, these women eek out an existence
in a decaying apartment building in Phnom Penh. Away from men and the
noise of the street, Paper Cannot Wrap Up Embers offers moments that
range from expressions of quiet despair to the sharing of intimacies and
mutual comfort. . Please reference Program F11 when ordering tickets. Go
to amnh.org/mead for a complete program.
11/15
New York, New York: Margaret Mead Film & Video Festival, American Museum of Natural History
http://www.amnh.org/mead
12:30 pm, 77th Street between Central Park West and Columbus Avenue
PEACE WITH SEALS
The Margaret Mead Film & Vifro Festival presents the US Premiere of
PEACE WITH SEALS by Miloslav Novák (FILMMAKER IN PERSON) Monk seal
specialist Emanuele Coppola and director Novák are on the hunt for any
trace of a real, live Mediterranean monk seal. Conversations with marine
biologists and philosophers as well as the beachgoers on the
Mediterranean shores who have supplanted the seals lead them to believe
that the only monk seals left are those preserved in Coppola's extensive
collection of archival footage. Presented as a wistful documentary
fable, the film might well stand as a warning sign for more ominous
things to come. Stunning underwater cinematography adds a stunning layer
to this lyrical film. Sat., November 15: 12:30pm at the American Museum
of Natural History. amnh.org/mead
11/15
New York, New York: Margaret Mead Film & Video Festival
http://amnh.org/mead
8:15 pm, American Museum of Natural History 79th and Central Park West
ALONE IN FOUR WALLS
Alone in Four Walls by Alexandra Westmeier (85min, Russia/Germany,
Director and Cinematographer in person) will celebrate its NY Premiere
at the 32nd Annual Margaret Mead Film & Video Festival. A teenager
stands up in class and explains why his favorite color is black. Wearing
black, he says, makes it easier to escape into corners undetected and to
obscure the dirt on his clothes. This scene is just one of the many in
Westmeier's documentary about adolescent boys incarcerated at a Russian
reformatory that break the heart. Her patient camera captures them
sitting quietly in rows at class, learning to use a gasmask, making
their beds, washing the hallway floors, in a woodshop cutting wood.
Intercut are interviews in which the boys describe their home life and
the offenses that brought them to this place. Some speak of alcoholism,
beatings, theft, and grisly murders, recounted in seemingly indifferent
tones. Other boys cry remembering home, a kind but absent stepfather, a
remiss grandmother who forgets to write. Breathtakingly shot with a
painter's eye for color and composition, Westmeier's film allows these
boys a freedom of expression like they have never had nor probably will
ever get again. Reference Program F9 when ordering tickets.
11/15
New York, New York: Margaret Mead Film & Video Festival
http://www.amnh.org/mead
1:00 pm, American Museum of Natural History 79th and Central Park West
UMBRELLA BY DU HAIBIN
The Margaret Mead Film & Video Festival presents the East Coast Premiere
of Umbrella by Chinese filmmaker Du Haibin. An umbrella that is carried
across a wheat field in central China or the rainy streets of Shanghai
is made in a factory in Guangdong and sold wholesale farther up the
coast in Zhejiang Province. Tracking the life of an umbrella from
factory to market, Haibin shows how the lives of farmers in rural China
have changed since the economic reforms instituted by Deng Xiaoping in
1978. "Socialism with Chinese Characteristics" couched the upturning of
the ideals of the Cultural Revolution in nationalist terms to soften the
blow dealt to farmers once glorified by the state. Haibin is part of the
Sixth Generation of Chinese filmmaking, which has proven unafraid to
confront China's dictatorial policies in the wake of Tiananmen Square.
With a pace that belies the speed with which these farmers and their
families have to adjust to these new changes, he shows us factory
workers, soldiers, students, merchants, and hold-out farmers as they
scramble for livelihoods and respect in the rush toward modernization
and the glorification of wealth over traditional ideals. Screening with
Under Construction —Shanghai's old districts are demolished in the name
of regeneration. Displaced by bulldozers and wrecking balls, families
find themselves in search of a new neighborhood. Every year, more than
100,000 inhabitants are forced to leave their homes and move to the
edges of the city. Zhenchen Liu combines digitally re-mastered
photographs with documentary video footage to investigate those affected
by the endless demolition, calling into question the choice of vertical
development over building community. Reference Program F6 when ordering
tickets. Go to amnh.org/mead for a complete program.
11/15
New York, New York: Margaret Mead Film & Video Festival
http://www.amnh.org/mead
7:00 pm, American Museum of Natural History 79th and Central Park West
SINKING VILLAGE, RECYCLE, THE PESTS - SHORT FILMS
The Margaret Mead Film & Video Festival is the longest running showcase
of documentary film in the United States. Exhibiting a range of
non-fiction work including: essay films, experimental works, feature
documentaries, animation, and more. The Festival is a premiere venue
housed at the American Museum of Natural History. Revealing the
diversity of programming at the Mead, we present a series of short
lyrical films that explore the human need for control. In The Pests,
termites, lice, silverfish, bedbugs, roaches, and wasps invade, experts
from entomologists to exterminators are called in and weild sprays and
bombs, electric zappers, and other insecticides, and do their chemical
best to remove the creatures. In The Pests, neatniks and entomophobes
obsess about their worst fear, the common everyday bugs that don't
respect our human limits. Recycle chronicles homeless poet, Miguel Diaz
as he collects recyclables to earn a living. Shot in striking 35mm, this
short documentary follows Diaz as he uses all the thrown-away items he's
collected to make a community garden in the median of his street and
offers his insights on survival and nature. In The Sinking Village the
Hungarian village of Medgyesbodzás is slowly sinking, and its
inhabitants are baffled. Their houses are propped up and riddled with
cracks and holes. The village receives very little help from national
authorities, so the middle-aged Jószef turns to the European Union. Ever
optimistic, he makes a short film in which he and the other villagers
tell their story. In the meantime, young people are moving away from the
village while those remaining speculate on who's to blame: oil
companies, the waterworks, or the soil itself. Reference Program F12
when ordering tickets.
11/15
San Francisco, California: Other Cinema
http://www.othercinema.com/
8:30pm, 992 Valencia Street
ALEX RIVERA'S SLEEP DEALER +
We are thrilled to host an old friend whose creativity and strength of
vision have propelled him to the launch of his first international 35mm
release, Sleep Dealer. Since we don't have 35mm facilities, we'll
instead be showing substantial clips on digital video, as Alex guides us
through his process on this provocative political allegory. It's a fable
for this globalized age, a moral tale focusing on the all-too-true
phenomenon of virtual workforces delivering their alienated labor from
across the border. Featuring eye-popping 3-D animation, Alex's highly
imaginative magical-realist masterpiece elaborates on the themes of
Latin-American relations, immigration, and digital culture that also
drive his earlier work. So to open the show, we'll screen his shorts Why
Cybraceros?, Dia de la Independencia, and maybe even PapaPapa in their
entirety, properly situating Señor Rivera in his meteoric artistic arc.
Come early for reception, cerveza, and yes, another of our (in)famous
piñatas. *$7.
-------------------------
SUNDAY, NOVEMBER 16, 2008
-------------------------
11/16
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
7:00 pm, Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd.
MOVING FIGURES: THE ANIMATED WORLD OF ROBERT BREER – PART 3
Filmforum presents Moving Figures: The Animated World of Robert Breer –
part 3, with Breer in person! Robert Breer, one of America's foremost
filmmakers for more than 50 years, pays a rare visit to Los Angeles to
attend a multi-venue celebration of his work. Tonight features a
selection of the artist's early work (1954-1964), including portraits
and collaborations with Jean Tinguely, Claes Oldenberg and other
avant-garde figures of the '50s and early '60s, as well as his first
major animated and pixilated short films. Parts 1 & 2 are at REDCAT on
November 10 and UCLA Film & Television Archive on November 15. Los
Angeles Filmforum, at the Egyptian Theatre, 6712 Hollywood Blvd, at Las
Palmas. Sunday Nov 16, 2008. 7:00 pm. General admission $10,
students/seniors $6, free for Filmforum members.
http://lafilmforum.wordpress.com. The Egyptian Theatre has a validation
stamp for the Hollywood & Highland complex. Park 4 hours for $2 with
validation.
11/16
New York, New York: Margaret Mead Film & Video Festival
http://www.amnh.org/mead
12:00 pm, American Museum of Natural History 79th and Central Park West
GANDHI’S CHILDREN BY DAVID MACDOUGALL
Gandhi's Children by award-winning documentary filmmaker David
MacDougall presents its World Premiere at The Margaret Mead Film & Video
Festival. The Prayas Children's Home for Boys is located in one of the
poorest quarters of New Delhi. The residents usually orphans, have run
away from home, or were picked up from the streets. One day, 181 boys
arrive, having been rescued from a child labor factory. Despite the
harshness of their lives, many of these children show extraordinary
strength of character. Often left to their own devices, they institute a
seemingly arbitrary set of checks and balances to make sense of the
mayhem around them. Please reference Program F18 when ordering tickets.
Go to amnh.org/mead for a complete program.
11/16
New York, New York: Margaret Mead Film & Video Festival
http://www.amnh.org/mead
6:30 pm, American Museum of Natural History 79th and Central Park West
THE LOST COLONY
The Margaret Mead Film & Video Festival presents The Lost Colony (Astrid
Bussink, US Premiere, Filmmaker in Person) The Sukhum Primate Center in
Abkhazia, the oldest primate research laboratory in the world, is
crumbling. This once prominent facility has been hailed for its strides
in medical research and space exploration. Founded in the 1920s, the
institute now strives for relevance amid Abkhazia's struggle for
independence from Georgia, dwindling funds, and the loss of a large
portion of its animals to a modern lab in neighboring Russia. On the
cusp of its 80th anniversary, Bussink visits the lab as it prepares for
a conference designed to drum up support in the scientific community.
Meanwhile, one guard searches the surrounding forests for any sign of
members of the monkey colony thought to have escaped from the lab during
the 1992 military conflict. Archival footage of the center's glory days
and present-day activities captured at a detached remove are combined
with stunning images of the decaying buildings and grounds. Now, with
recently renewed fighting between Georgia and Russia over Abkhazian and
South Ossetian independence, Bussink's ironic take on this seemingly
hopeless situation becomes prescient. Please reference Program F17 when
ordering tickets. Go to amnh.org/mead for a complete program.
11/16
New York, New York: Margaret Mead Film & Video Festival
http://www.amnh.org/mead
7:30 pm, American Museum of Natural History 79th and Central Park West
THROW DOWN YOUR HEART (FEATURING BéLA FLECK)
Closing Night at The Margaret Mead Film & Video Festival presents Throw
Down Your Heart (Sascha Paladino, Filmmaker in Person, NY Premiere)
Multiple Grammy-winner Béla Fleck travels to Uganda, Tanzania, the
Gambia, and Mali searching for the roots of the banjo, the instrument he
loves so much. Part road movie, part historical document, this
fascinating film demonstrates the power of music and musicians to reach
across cultural boundaries and the limitations of language to create an
instant and abiding connection. Whether plaintive or pulsating, the
infectious music in Throw Down Your Heart transports viewers into the
heart of Fleck's personal journey. This film is co-presented by World
Music Institute. Please reference Program F21 when ordering tickets. Go
to amnh.org/mead for a complete program.
-------------------------
MONDAY, NOVEMBER 17, 2008
-------------------------
11/17
Cambridge, Massachusetts: Harvard Film Archive
http://hcl.harvard.edu/hfa
7pm, 24 Quincy Street
AN EVENING WITH ROBERT TODD
These latest films offer a series of celebratory explorations, and, in
some cases, transformations, of varied components of my life. To me,
this set of works is an odd blend of performance and alchemical
construction, freedom and control, a highly crafted and rather baroque
diary. By way of a more general statement about the making of films, I
offer this excerpt from a response to a question in a summer interview
with Mike Hoolboom: I was speaking with a painter friend about what the
process is like. She was talking about a series she's making that are
phases within a transitional state. I told her that this describes my
making films—they are transitory and transitional: there doesn't seem to
be a state of completion. While making Qualities of Stone in May 2006 I
became interested in some things which were shot through the summer and
fall for There, which in turn led me to shoot along more developed lines
for Office Suite in the winter. In each instance, I felt that there was
more to say because when I watched the footage cut together, it was
nagging at me, not like a problem, but like a solution that I was having
trouble seeing. Shooting was a way of seeing more. But this only
captures some of the picture; I do have little fires that crop up, and I
obsess about pursuing them. The film that I have already made is the
record of a process of discovery which I'm only casually interested in
revisiting. The great thing about having a full program of my films is
having the chance to see several movies flow as a set. This larger view
is exciting because it blends various mysteries together that make more
sense than I could ever glean from a single film. – Robert Todd
Invisible River is a series of five films giving an insider's view of an
ever-changing environment we call "city." 21 Alleys Part three of
Invisible River. Peering into the spaces that separate dwellings on a
short, mixed-zoned street in Boston. Featuring interviews with varied
members of a varied neighborhood. Directed by Robert Todd. US 2007,
16mm, color, 8 min. Dig Part four of Invisible River. Your street is my
street: a constricted frame in agitation – with intermission. Follow the
bouncing Dig-Safe marks to sing along with the sweet music of
jackhammers raging throughout this animation of the cryptic code of our
urban caretakers. Directed by Robert Todd. US 2007, 16mm, color, 2 min.
Riverbed Part five of Invisible River. A series of dances that follows
the invisible stream that once powered a multitude of businesses and
breweries in Boston, in a sesquicentennial celebration of the Stonybrook
River's culvert's construction. Directed by Robert Todd. US 2008, 16mm,
color, 18 min. Interplay A dance piece humming along with the various
places I inhabit: a play in three acts, a dance in three forms, three
versions of paradise. Directed by Robert Todd. US 2006, 16mm, color, 7
min. Office Suite If the lens of the camera is roseating, then I will
take that as adding the red rub of a blush to things, that is to say,
bringing a certain passion of vision to states/environments. We can
feel/find rapture or elevation with strangers (seeking out the exotic),
but how much more challenging (and/or subsequently rewarding) to find
this within the familiar? Directed by Robert Todd. US 2007, 16mm, color
& b/w, 15 min. Passing A eulogy (for my father-in-law) in four
movements: sifting the four Elements, the film searches for the spirit
through both chance and ritual, repeating a call for a cycle of life to
be left open. Directed by Robert Todd. US 2008, 16mm, color, 19 min.
Rose My sustained appreciation for the richness of Light, developed
initially in drawing media, has gradually met up with my development in
filmmaking. Following the making of more externally directed films, I
felt a need to turn inward and undertake a kind of Fantastic Voyage into
my own lightstream-as-bloodstream. Directed by Robert Todd. US 2008,
16mm, b/w, 9 min.
11/17
Los Angeles, California: Redcat
http://www.redcat.org/
8:30 pm, 631 W 2nd St.
AN EVENING WITH KENNETH ANGER: DANGEROUS CINEMA
One of the towering figures of American avant-garde cinema since the
mid-1940s, Kenneth Anger has posited himself at the junction between pop
culture, queer underground, occultism and rock music. Tonight's
screening presents an array of works in which Anger subjects different
ideologies and subcultures to his incisive vision and the uncanny
re(de)constructive power of his editing skills. Ich Will (2007, 35 min.)
montages newsreels from the Nazi era to Bruckner's music. Mouse Heaven
(2005, 12 min.) "does for Mickey Mouse what Scorpio Rising did for
neo-Nazi biker gangs," according to the UCLA Film & Television Archive.
Elliott's Suicide (2007, 15 min.) is an elegy for the late Elliott
Smith, while I'll Be Watching You (2007, 4:52 min.) and Foreplay (2008,
7 min.) explore two different forms of male bonding: sex in an
underground parking structure and a soccer team's training session. The
program concludes with the seminal Scorpio Rising (1963, 29 min., 35mm).
In person: Kenneth Anger. Tickets $9 [students $7] The 35mm print of
Scorpio Rising has been restored by the UCLA Film & Television Archive;
preservation funded by the Film Foundation.
--------------------------
TUESDAY, NOVEMBER 18, 2008
--------------------------
11/18
Amsterdam: Images Festival
http://www.imagesfestival.com/
10:30 PM, Muziekgebouw BAM Zaal- Piet Heinkade 1, 1019 BR Amsterdam
POSTCARDS FROM TRUE NORTH
How do you define a country through video art? A preposterous notion if
there ever was one, particularly Canada, the world's second largest
country by land mass. This collection of videos provides five short
encounters with Canada through moving images. The diverse works in this
program represent a cross-section of places and ideas oft associated
with this country. Composed of found footage sources, Aleesa Cohene's
All Right explores xenophobia and multiculturalism in Canadian
immigration policies. Brother Tongue / Langue Fraternelle tells the
story of twin brothers in a womb, the stronger of which envelops the
weaker, a metaphor for the filmmaker's status as an Anglophone in Canada
and the broader implications of the English language as the "stronger
brother." As a counterpoint, Nikamowin (Song) focuses on the language in
Canada which precedes both English and French. In it Kevin Lee Burton
speaks and remixes the Cree language narration to reflect on the power
of his lost language. Drawing upon literary figures such as Margaret
Atwood and Robert Service, Andrea Cooper's Strange Things explores a
personification of the idea of north. Mike Rollo's Ghosts and Gravel
Roads shifts the focus to Saskatchewan to create a portrait of the
emptiness and absence in small forgotten towns of Canada's prairies.
Curated and introduced by Pablo de Ocampo, Artistic Director, The Images
Festival Aleesa Cohene- All Right (2003, video, 7 min) Daniel Cockburn-
Brother Tongue / Langue Fraternelle (2006, video, 16 min) Kevin Lee
Burton- Nikamowin (Song) (2007, video, 11 min) Andrea Cooper- Strange
Things (2006, video, 16 min) Mike Rollo- Ghosts and Gravel Roads (2008,
video, 16 min)
11/18
Reading, Pennsylvania: Berks Filmmakers
http://www.berksfilmmakers.org
7:30, Albright College
MIKE KUCHAR IN PERSON
MIKE KUCHAR (San Francisco, CA) will visit to share and discuss his
recent mini-DV productions. Designated as a Rockefeller Fellow in 2006,
Mike's early 8mm films (many co-produced by his brother, George) were
preserved by Anthology Film Archives through funds from the National
Film Preservation Foundation. "No art form demands as much spontaneous,
imaginative improvisation as low-budget filmmaking, and no American
low-budget filmmakers are as imaginative as George Kuchar and his twin
brother Mike. Major figures in the American Underground film movement of
the 'sixties, they are the acknowledged pioneers of the camp/pop
aesthetic that would influence practically all who came after them, from
Warhol and Waters to Vadim and Lynch. That influence is still being
felt."—Bright Lights Film Journal. As described by an attentive viewer
at a recent show and post-screening talk at the Clinton Theater in
Portland, OR: "He doesn't make the campy sci-fi films of his '60s-era
youth because he's not that guy any more. At his age, his libido tends
to take over when he films. (He looked down at his shoes and laughed
when he said this.)"—Lisa Mc, blog. "I need to make movies…so I guess
its more than a 'hobby'; it's a 'vocation'; a 'calling', and I can't
stop it!"—MK ('08). Included on the program will be: A Midsummer's
Nightmare; Metropolitan Memoir; Heaven Cannot Hold Them; Lily; The
Craven Sluck; and State of Mind.
11/18
Vancouver, British Columbia: Cineworks Independent Filmmakers Society
http://www.cineworks.ca
7:30pm, Pacific Cinematheque [1131 Howe]
AFTER SCHOOL SPECIAL
AFTER SCHOOL SPECIAL School, work, school. Alex Bag, Kika Thorne,
Elisabeth Subrin. Cineworks Independent Filmmakers Society presents
After School Special, three videos from the late nineties as an attempt
to flesh out the gap between the WACK! show at the Vancouver Art Gallery
and contemporary feminist art practice. With music by Peaches, Kika
Thorne's Work stars real life artist Shary Boyle who plays an artist in
a documentary that is not a documentary. In Untitled Fall '95, Bag, the
art student, "plays" Bag the art student. Through a series of deadpan
performances, interspersed with fragments of pop detritus, Bjork, Hello
Kitty, Killer Bunnies, Alex Bag successfully maintains television's
banal, static and endearing ineptitudes. A cinematic doppelganger
without precedent, shot for shot, Elisabeth Subrin's Shulie reenacts a
1967 documentary portrait of a young Chicago art student, who a few
years later would become a notable figure in Second Wave feminism and
author of the radical 1970 manifesto, The Dialectic of Sex: The Case for
Feminist Revolution. Not a clone in the end, but a brilliant rethinking
of history. Subrin makes manifest the eternal return of film. Join us
post punk feminists at 7:30 on November 18 at the Pacific Cinemateque to
view the distant past through the lens of the recent past. $8 Cineworks
Members, $10 Non-members
----------------------------
WEDNESDAY, NOVEMBER 19, 2008
----------------------------
11/19
London, England: Artprojx Space
http://www.artprojxspace.com/filmclub.html
6.30pm, Artprojx Space, 53 Beauchamp Place, London SW3 1NY
TEENAGE WILDLIFE
Following on from the Teenage Wildlife videothequé, curated by Esther
Johnson and exhibited at Site Gallery, Sheffield from 28 June – 9 August
2008, a selection of film works from the videothequé, will screen at
Artprojx Space, London during the Jane Bustin exhibition from 19
November – 20 December 2008. www.sitegallery.org/teenagewildlife/
www.sitegallery.org/exhibitions/view.php?id=186 There will be a Special
Screening of Teenage Wildlife on the evening of Wednesday 19th November
from 6.30 – 8.30pm. Teenage Wildlife will screen daily alongside, One
Minute (volume 2), curated by Kerry Baldry. Gallery opening hours –
11am-6pm (Mon-Sat) Artprojx Space, 53 Beauchamp Place, London SW3 1NY
020 7584 0717 email suppressed www.artprojxspace.com
http://www.artprojxspace.com/filmclub.html
11/19
London, England: One Minute
6 - 9pm, 53 BEAUCHAMP PLACE LONDON SW3 1NY
LAUNCHE EVENT OF ONE MINUTE (VOLUME 2) & TEENAGE WILDLIFE
ARTPROJX SPACE ARTISTS FILM CLUB presents ... ONE MINUTE (Volume 2)
Curated by artist Kerry Baldry & TEENAGE WILDLIFE Curated by
artist/film-maker Esther Johnson ARTPROJX ARTISTS FILM CLUB presents
downstairs at ARTPROJX SPACE during the Jane Bustin exhbition 19
November - 20 December. The two film programmes will be screened
continuously daily during the gallery opening hours of 11am-6pm
(Mon-Sat): SPECIAL LAUNCH EVENT/SCREENING: Wednesday 19 November 6-9pm
TEENAGE WILDLIFE Curated by artist/film-maker Esther Johnson Teenage
Wildlife surveys the rich source of inspiration that film and video
artists have found in the subject of youth. The selection comprises
films from the Teenage Wildlife videothéque curated for the Site
Gallery, Sheffield . Short films featured range from tales of
loneliness, confusion, angst, excess, delinquency and empowerment to
poetic portraits of how teenagers spend their time. Featuring artists:
Martin Arnold, Hildur Margrétardóttir, Laurence Coriat, Mathias Gokalp,
Matthew Murdoch, Pierre Daudelin, Andrew Kötting, Provmyza, Sofie
Thorsen Total running time: 90' & ONE MINUTE (Volume 2) Curated by Kerry
Baldry One Minute (Volume 2) is the second in the series of artists'
videos curated by Kerry Baldry. This new programme is an eclectic range
of moving image and includes formats such as 16mm film, Super 8, video,
stopframe animation, superimposition, all constrained by a time limit of
one minute. Artists include: Gordon Dawson, Laure Prouvost, Martin
Pickles, Marty St.James, Eva Rudlinger, Steven Ball, Guy Sherwin, Louisa
Minkin, Steve Hawley, Gary Peploe, Lynn Loo, Riccardo Iacono, Hilary
Jack, Nicolas Herbert, Claire Morales, Catherine Elwes, Tina Keane, Kate
Meynell, Kerry Baldry, Phillip Warnell, Nick Jordan, Margie Schnibbe,
Stuart Pound, Esther Johnson, Mark Wigan, Andy Fear, Philip Sanderson,
Erica Scourti, Unconscious Films, Deklan Kilfeather. Total running time:
54' A R T P R O J X S P A C E 53 BEAUCHAMP PLACE LONDON SW3 1NY OPEN
MON-SAT 11AM-6PM OR BY APPOINTMENT WWW.ARTPROJXSPACE.COM +44 (0)20 7584
0717 email suppressed DAVID GRYN DIRECTOR
11/19
Los Angeles, California: Engineering Cinematheque
http://www.jxarchive.org/EIT.html
8:00, 1636 Wilcox
EXPERIMENTS IN TERROR (EXPANDED EDITION)
Creeping into the darkest corners of the cinematic imaginary,
EXPERIMENTS IN TERROR disinters a body of ghoulish works to satisfy our
most perverse celluloid cravings. Employing a mesmerizing montage of
terrifying tropes and fiendish footage, our kino-coven conjures more
than a bewitching hour of visionary cinema. Pounding a stake through the
heart of genre convention, this shocking program expands the cinematic
language of fear, breaking the chains of narrative logic and leaving
only the black void of the infinite unconscious. Program includes work
by Damon Packard, J.X. Williams, Rodney Ascher, and Jason Bognacki's
"The Red Door"
11/19
Providence: Magic Lantern
http://magiclanterncinema.com/
9:30 pm, Cable Car Cinema, 204 S. Main Street
MAGIC LANTERN PRESENTES: THE AFTERMATH SHOW (11/19, NOT 11/11 AS
ORIGINALLY POSTED!!)
Magic Lantern Cinema presents THE AFTERMATH SHOW Post-Election Politics,
Economics, and Violence Curated by Paige Sarlin Wednesday November 19,
2008 9:30 p.m. Cable Car Cinema 204 S. Main St. Providence, RI Admission
$5 There's going to be quite a reckoning over the next months and even
years as the fall-out from Neoliberalism, the War on Terror, and
de-regulation becomes increasingly unavoidable. In anticipation of that
accounting, this series of films asks a series of questions about some
of the basic underpinnings of our American system-- the ones that don't
change no matter who is in office. Circling around the very notion of
"AFTER," this grouping of films and video considers what happens in the
wake of an historic event. Starting with two rosy pictures produced by
educational filmmakers in the 1940s and 50s and ending with some stark
re-visions of the American dream, this series of works ponders the
relation between elections, capitalism and violence through the use of
animation, humor, and music. Lest you forget the state of the economy or
the fact that we are still at war amidst all the Democratic euphora,
this screening makes it clear that now that this important "fight" has
been won, it's time for the real struggles to begin. FEATURING: Bruce
Conner, "America is Waiting," (1982); Tony Cokes, "Black Celebration"
(1988); Saul Levine, "Unemployment" (1980); Benj Gerdes, "Happy
Anniversary, San Francisco, March 20-21, 2003" (2004); Jim Finn,
"Decision 80" (2003); Hans Richter, "Inflation" (1928); Jem Cohen,
"Little Flags" (2000); Southerland Productions, "It's Everybody's
Business" (1954); Rohesia Hamilton Metcalfe, "Everyone Must Tighten
Their Belts" (1997); Department of War Information, "Tuesday in
November" (1945) TRT: 89:40 * * * * * * * FILM DESCRIPTIONS: America is
Waiting, Bruce Conner, 1982, 16MM, b&w, sound, 3 min Set to the music of
Brian Eno and David Byrne, this commentary on the status of the American
dream is even more fitting today than it was over 20 years ago. Shown
with the special permission of the estate of Bruce Conner. Black
Celebration, Tony Cokes, 1988, video, b&w, sound, 17:11 min Now that the
voting is over, the question needs to be asked-- what other forms of
intervention need to happen in order to transform conditions of racial
and economic inequity? In this video, Tony Cokes asks, "How do people
make history under conditions pre-established to dissuade them from
intervening in it?" Combining newsreel footage of the "race" riots in
the 60's (including images from Watts, Boston and Newark (amongst
others)) with music from Skinny Puppy and Morrisey and texts from Guy
Debord and Barabara Kruger, Cokes produces a reading of this historic
violence as a critique of capitalist modes of consumption and the
commodity form. Unemployment, Saul Levine, 1980, 16mm, color, 5.25 min
The police attempted to confiscate this film that Levine shot while he
was standing in line at the unemployment office in Birmingham Alabama.
Happy Anniversary, San Francisco, March 20-21, 2003, Benj Gerdes, 2004,
video, color, sound, 4:30 min This video was shot part of a collective
effort to videotape anti-war direct action protests in San Francisco
during the first two days of the war on Iraq. Most of the video shot
over this two day period was initially used as documentation for legal
rather than media/documentary purposes. In this edit, every clip is the
same length. They are shown in the order they were recorded in order to
challenge more common activist editing techniques that imitate
mainstream television pacing, and thus ask something different of the
audience. - B.G. Decision 80, Jim Finn, 2003, video, color, sound, 10
minutes "Appropriated network-TV footage of Jimmy Carter's "I see risk"
speech from the 1980 Democratic Convention meets Reagan's gloomy
inaugural ride through D.C.: "If you succumb to a dream world, you'll
wake up to a nightmare." - video data bank Little Flags, Jem Cohen,
2000, 16mm transferred to video, b/w, sound, 6:30 minutes Cohen shot
Little Flags in black and white on the streets of lower Manhattan during
an early-'90s military ticker-tape parade and edited the footage years
later. As the streets empty, a process of disillusion becomes manifest.
Everyone Must Tighten Their Belts, Rohesia Hamilton Metcalfe, 1997,
video transferred to DVD, color, sound, 4:30 minutes A whimsical piece
in which a late-night television interviewer attempts to get an
unusually wordy guest (a labor relations expert of sorts) to explain the
relationship between unemployment and inflation. - R.H.M. Tuesday in
November, Department of War Information, 1945, 16mm transferred to DVD,
b/w, sound, 16:43 minutes Made as an educational piece to show America's
ability to hold elections during wartime, this film is a piece of
instructional propaganda that demonstrates a certain small-town idealism
that still permeates the rhetoric of US electoral politics. In black and
white, it may seem absurd, but it's an ideology that is still around.
Inflation, Hans Richter, 1928, 16mm, 16mm, b/w, sound, 2:40 minutes Made
by a central figure in German avant-garde cinema, this film counterposes
"growing zeroes" against "declining people" in an effort to demonstrate
the phenomenon of inflation during the run-away economy of the 20's when
Germany printed huge amounts of money in an effort to salvage their
economy. It's Everybody's Business, Southerland Productions, 1954, 16mm
transferred to DVD, color, sound, 19:53 minutes Illustrating the
relation between the free-market and the first amendment, this
entertaining animation uses the same well-worn arguments used today to
describe the relation between the American government and the economy.
An excellent primer on capitalism, the film celebrates the right of
every American to own a home and to risk his or her savings on Wall
Street. Something we clearly need to remember these days. This film was
commended by the Freedom Foundation for its ability "to further better
understanding of the American way of life" in 1955. * * * * * * Magic
Lantern is graciously funded by the Malcolm S. Forbes Center for Modern
Culture and Media of Brown University www.magiclanterncinema.com * * * *
* *
11/19
Toronto, Ontario, Canada: Cinematheque Ontario
http://www.bell.ca/cinematheque
7:00 p.m., Jackman Hall - 317 Dundas St. West
THE FREE SCREEN - THE EXPERIMENTAL CINEMA OF PAOLO GIOLI
Curated and presented in person by Patrick Rumble. One of Italy's most
important experimental filmmakers, Paolo Gioli was born in Sarzano,
Italy, in 1942. After attending art school at the Academy of Fine Arts
in Venice, in 1967 he set up a painting studio in New York City where he
encountered the work of experimental filmmakers associated with the New
American Cinema. Back in Italy, Gioli's first films were made without a
camera – Commutations with Mutation combines collages of 8mm and 16mm
stock footage with sections of hand-painted, punctured and abraded clear
leader, producing a dynamic and challenging visual experience free from
what Gioli calls "consumerist" film technology. This suspicion of
technology – and his stated goal of "making free films freely" – leads
Gioli either to construct "prepared" 16mm cameras or to build what he
calls "stenopeic" (pin-hole) cameras out of unusual and very low-cost
materials, including buttons, bread-loaves, sea-shells, saltines, and
the human body. The diffused beauty and visual immediacy of Gioli's
pin-hole techniques are quite evident in Filmstenopeico: Man without a
Movie Camera. All the films in this programme offer meditations on
technical innovations of nineteenth- and twentieth-century art,
photography, and cinema – and on related issues of visual perception –
with particular attention given to Muybridge, Marey, Méliès, Vertov,
Eisenstein, Buñuel, Duchamp, and Snow. Given his ethical preoccupation
with issues of perception and technology, combined with his
investigation of motion and the materiality of the film medium (the
sprocket hole, the frame line, the emulsion layer, the shutter device),
Gioli is surely one of the most significant experimental filmmakers
Italy has ever produced. – Patrick Rumble.NORTH AMERICAN PREMIERE!
COMMUTATIONS WITH MUTATION (COMMUTAZIONI CON MATZIONE) (Italy, 1969, 7
minutes, 16mm, silent). CANADIAN PREMIERE! FILMSTENOPEICO: MAN WITHOUT A
MOVIE CAMERA (L'UOMO SENSA MACHINA DA PRESA) (Italy, 1973-1981-1989, 13
minutes, 16mm, silent). CANADIAN PREMIERE! THE PERFORATED CAMERAMAN
(L'OPERATORE PERFORATO) (Italy, 1979, 9 minutes, 16mm, silent). NORTH
AMERICAN PREMIERE! LITTLE DECOMPOSED FILM (PICCOLO FILM DECOMPOSTO)
(Italy, 1986, 19 minutes, 16mm, silent). NORTH AMERICAN PREMIERE! FACE
SURPRISED IN THE DARK (VOLTO SORPRESO AL BUIO) (Italy, 2006, 6 minutes,
16mm, silent). CANADIAN PREMIERE! CHILDREN (Italy, 2008, 5 minutes,
16mm, silent).
(continued in next email)
__________________________________________________________________
For info on FrameWorks, contact Pip Chodorov at <email suppressed>.