From: Weekly Listing (email suppressed)
Date: Sat Oct 16 2010 - 11:57:37 PDT
Part 2 of 2: This week [October 16 - 24, 2010] in avant garde cinema
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FRIDAY, OCTOBER 22, 2010
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10/22
Kansas City, Missouri: Nelson-Atkins Museum of Art
http://www.nelson-atkins.org
7:00 p.m., 4525 Oak Street
ELECTROMEDIASCOPE
"Wave Energies FeedBack: 30 Years of Electronic Media at Kansas City Art
Institute." Part of the celebration of the 125th anniversary of the
Kansas City Art Institute. "Tiger Flower Circle Sun," Christopher
Willits, (USA), Live Performance with guitar, computer and video
projection, 30 min.; "Shelf Life," Don Bernier (USA), 2008, video, 29:30
min.; "Los Angeles," Derric Eady (USA), 2009, video, 9:44 min.; "Center
of the Universe," Timothy Hutchings (USA), 2003, video, 3:47 min.;
"Celestial Spheres," Timothy Hutchings (USA), 2008, video with original
score by David T. Little, 6:16 min.; "Toyboat," Heather Brown (USA),
2010, video, 5 min.; "Chorégraphie Impromptue," Audra Brandt (USA),
2007, video, 3:56 min.; "Spiders," Audra Brandt (USA), 2007, video, 2:02
min.; "I Want to Love You," Cortney Andrews (USA), 2010, video, 10 min.
Additional programs on Oct. 8 and Oct. 15.
10/22
London, England: BFI London Film Festival
http://www.bfi.org.uk/lff
4:15pm, BFI Southbank, Belvedere Road, South Bank, SE1 8XT
SUBLIME PASSAGES
SHUTTER (Alexi Manis / Canada 2010 / 8 min) SHUTTER suggests the uncanny
atmosphere and changing light on the day of a total eclipse. DRIFTER
(Timoleon Wilkins / USA 1996-2010 / 24 min) Fragments of the filmmaker's
life, home and travels, recorded over a 14-year period. "The glories of
atmospheric light and colour, inward soul-drifting, and the literal
sensation of drifting within and through each shot and cut." SHRIMP BOAT
LOG (David Gatten / USA 2010 / 6 min) "300 shots, 29 frames each,
alternating between a notebook listing the names of shrimp boats that
frequent the mouth of the Edisto River and images of these same boats."
BLUE MANTLE (Rebecca Meyers / USA 2010 / 35 min) Blending 19th century
American literature with factual accounts, illustrations and music by
Debussy and Wagner, this oblique portrait of a shipwrecked coastline
conveys the vastness and majesty of the ocean. A song to the sea, and a
commemoration of those who have risked their lives off the treacherous
Massachusetts shore. TRAVELLING FIELDS (Inger Lise Hansen / Norway 2009
/ 9 min) In the third film of her 'inverted perspective' trilogy, Hansen
turns her camera on the North West Russia, creating monumental and
uncanny vistas from these barren wastelands.
10/22
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30 pm, 32 2nd Avenue
SOMETIMES CITY
Tom Jarmusch's passion for filmmaking, and more importantly for people,
shines through in every frame of his always inquisitive, poetically
resonant work. Whether documenting the decline of a once-great city or
shooting friends and shaggy dog stories, Jarmusch's sympathetic vision
always cuts straight to the emotional heart of his subject. Frequently
funny and often funky, shot on any number of mediums (Super-8, 16mm,
decidedly low-end video cameras), Jarmusch's various shorts smartly
juxtapose reality and fiction, the present and the past. This two-night
taster of his extensive body of small-gauge and video works features
shorts produced in the last fifteen-plus years. We are especially
excited to offer the premiere of his first feature-length production,
SOMETIMES CITY. Long in the making, this charming and simultaneously
frightening portrait of Cleveland is one of the most memorable
documentaries to be made about an American city in many a moon. "When
critics speak of the meaning of a work of art rising from its context,
they might well be describing the films of Tom Jarmusch. For the past
fifteen years, the filmmaker-photographer has made his home – and his
films – on and about New York's Lower East Side, where he is a
ubiquitous presence. In a neighborhood still reeling from the Giuliani
years' blitzkrieg pace of gentrification and development…Jarmusch is a
throwback. In fact, in the face of such hostile forces, the artist's
very survival, much like his art, has taken on the latent political
charge of resistance." –Bill Raden, CAPTURED: A LOWER EAST SIDE FILM &
VIDEO HISTORY PROGRAM 1: SOMETIMES CITY 2010, 85 minutes, video. A
remarkably gritty, rough-hewn, and deeply personal video portrait of
Cleveland, SOMETIMES CITY features Clevelanders speaking about their
home, its problems, and the things they like. Conceived as a mixture of
documentary, home movie, personal memoir, and fiction, it obliquely
suggests Cleveland's history, its neighborhoods and landscape, and the
huge heart of the people who inhabit it. The title comes from a poem by
da levy, whose poetry is heard in the film. An entertaining and
engrossing look at a once-great city that isn't going anywhere anytime
soon.
10/22
San Francisco, California: Artists Television Access
http://www.atasite.org/
8pm (doors 7.30), 992 Valencia Street
ATA 5TH ANNUAL FILM AND VIDEO FESTIVAL: LO-FI FUTURE
The 5th Annual Artists' Television Access Film & Video Festival
celebrates original, independent and underground film & video with
screenings, installations and workshops, October 19th - 23rd. On Friday,
October 22, ATA will screen the second festival shorts program,"Lo-Fi
Future," which explores futuristic landscapes and lo-fi culture. This
program includes films and videos by Kathleen Quillian, Whitney Horn &
Lev Kalman, Sylvia Schedelbauer, Jeff Guay, Zachary Epcar, Bryan Boyce,
Jesse McLean, and Kerry Laitala. Chromadepth 3D glasses and chromatic
jello shots will be provided. $7-$10 sliding scale Doors at 7.30,
screening at 8
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SATURDAY, OCTOBER 23, 2010
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10/23
London, England: BFI London Film Festival
http://www.bfi.org.uk/lff
12pm to 7pm, BFI Southbank, Belvedere Road, South Bank, SE1 8XT
STUDIO: THE FUTURIST
THE FUTURIST (Emily Richardson / UK 2010 / 4 min) Illuminated by the
light of the projector, the interior of a large, 1920s picture house is
documented from a central position in the stalls. Emily Richardson's
films record impressions of environments ranging from natural landscapes
to industrial or urban spaces. The Futurist is the first of a series in
homage to the cinema experience. Continuous Projection. Free Admission.
10/23
London, England: BFI London Film Festival
http://www.bfi.org.uk/lff
2pm, BFI Southbank, Belvedere Road, South Bank, SE1 8XT
READING BETWEEN THE LINES
THE INDIAN BOUNDARY LINE (Thomas Comerford / USA 2010 / 42
min)Comerford's essay maps a historical demarcation which originally
divided Native American land from that which was ceded to white settlers
in 1812. Modern life has obscured the traces of this history in the
Rogers Park district of Chicago. Juxtaposing past with present, footage
shot along this formerly disputed territory is matched with readings
from official documents, fiction and quotidian accounts. FLAG MOUNTAIN
(John Smith / UK 2010 / 8 min) A view across the city of Nicosia, over
the Green Line border, to an unusual spectacle on a hillside. Lives
continue in its shadow, amongst the contrasting flags, anthems and calls
to prayer. WHY COLONEL BUNNY WAS KILLED (Miranda Pennell / UK 2010 / 28
min) An exploration of turn of the century colonial life along the
Durand Line, the frontier between Afghanistan and British India (now
Pakistan). Remarkable period photographs are closely analysed as we
listen to reports of exchanges between westerners, natives and mullahs
written by missionary doctor TL Pennell.
10/23
London, England: BFI London Film Festival
http://www.bfi.org.uk/lff
4pm, BFI Southbank, Belvedere Road, South Bank, SE1 8XT
SUBLIME PASSAGES
SHUTTER (Alexi Manis / Canada 2010 / 8 min) SHUTTER suggests the uncanny
atmosphere and changing light on the day of a total eclipse. DRIFTER
(Timoleon Wilkins / USA 1996-2010 / 24 min) Fragments of the filmmaker's
life, home and travels, recorded over a 14-year period. "The glories of
atmospheric light and colour, inward soul-drifting, and the literal
sensation of drifting within and through each shot and cut." SHRIMP BOAT
LOG (David Gatten / USA 2010 / 6 min) "300 shots, 29 frames each,
alternating between a notebook listing the names of shrimp boats that
frequent the mouth of the Edisto River and images of these same boats."
BLUE MANTLE (Rebecca Meyers / USA 2010 / 35 min) Blending 19th century
American literature with factual accounts, illustrations and music by
Debussy and Wagner, this oblique portrait of a shipwrecked coastline
conveys the vastness and majesty of the ocean. A song to the sea, and a
commemoration of those who have risked their lives off the treacherous
Massachusetts shore. TRAVELLING FIELDS (Inger Lise Hansen / Norway 2009
/ 9 min) In the third film of her 'inverted perspective' trilogy, Hansen
turns her camera on the North West Russia, creating monumental and
uncanny vistas from these barren wastelands.
10/23
London, England: BFI London Film Festival
http://www.bfi.org.uk/lff
7pm, BFI Southbank, Belvedere Road, South Bank, SE1 8XT
EVERY TIME I SEE YOUR PICTURE I CRY
EVERY TIME I SEE YOUR PICTURE I CRY (Daniel Barrow / Canada 2008 / 60
min) Daniel Barrow has developed an intimate mode of 'manual animation'
using the antiquated technology of an overhead projector. From a
position amongst the audience, he recites live narration while
manipulating layers of transparencies in continuous motion. Accentuated
by interference patterns and sleight-of-hand trickery, Barrow's
hand-drawn images contrive an absorbing tale of comic book grotesques.
EVERY TIME I SEE YOUR PICTURE I CRY is a bizarre confessional detailing
the grand but hopeless scheme of an estranged garbage collector and
failed art student. Unloved and rejected by society, the protagonist
begins a universal art project in the form of a telephone directory of
'profound and intimate insights' to chronicle the lives of those around
him. As he snoops through the windows and waste bins of fellow citizens,
his survey is rendered futile by a maniacal killer who follows in his
wake, picking off subjects one by one. Invoking introspection, pathos
and dark humour, this award winning performance piece is accompanied by
an unassuming Beach Boys-inflected score recorded by Amy Linton of The
Aislers Set.
10/23
London, England: BFI London Film Festival
http://www.bfi.org.uk/lff
9pm, BFI Southbank, Belvedere Road, South Bank, SE1 8XT
HIT THE ROAD
MAKE IT NEW JOHN (Duncan Campbell / UK 2009 / 50 min) The story of the
DeLorean car and its notorious entrepreneur's Northern Ireland venture,
assembled from found and reconstructed footage. During a momentous
period in the province's history, the manufacture of this futuristic
vehicle was beset by its own troubles – governmental pacts, an
inexperienced workforce and allegations of misconduct. This insightful
film, with its Pinteresque finale concerning the plight of the workers,
raises questions on documentary form and the representation of
historical events. GET OUT OF THE CAR (Thom Andersen / USA 2010 / 34
min) Andersen's latest homage to Los Angeles takes time to stop and
consider the temporary architecture of roadside billboards, community
murals and hand-painted signs. A movie about the ephemeral sights of the
city, with a rocking soundtrack of local music and the confused
interjections of passers-by.
10/23
Los Angeles, California: Redcat
http://www.redcat.org/
6:00pm, 631 W. 2nd St., Los Angeles, CA 90012
BETWEEN DISPLACEMENT AND NOSTALGIA: CONFLICTED MEMORIES OF CUBA
Tomás Gutiérrez Alea: Memorias del subdesarrollo (Memories of
Underdevelopment), Cuba, 1968, 97 min., 35mm. Followed by a discussion
with Cuban novelist Edmundo Desnoes. And by Miguel Coyula: Memorias del
desarrollo (Memories of Overdevelopment), USA/Cuba, 2010, 113 min.,
HDCAM One of the first international successes of Third Cinema, Tomás
Gutiérrez Alea's classic film was banned in the United States for five
years, a victim of the embargo on post-revolutionary Cuba. Memories of
Underdevelopment imaginatively transposes Edmundo Desnoes' eponymous
stream-of-consciousness novel into a modernist cinematic space. Desnoes'
ambivalence toward the new regime grew, and in 1979 he defected to the
United States, where he wrote Memories of Overdevelopment, a companion
piece to his earlier work. His writings in turn inspired young Cuban
filmmaker Miguel Coyula, who uses the digital-media tools of his
generation to comment on the issues that have fascinated Desnoes: the
hunger to embrace a revolutionary cause versus political
disillusionment, feeling displaced in one's own country and in permanent
exile in the country of one's choice, the protracted conflict between
underdevelopment and overdevelopment, and, last but not least, acerbic
sexual politics. Desnoes will share his point of view on both films,
creating a dialogue between Gutiérrez Alea's masterpiece and Coyula's
multilayered visual experiment. In person: Edmundo Desnoes and Miguel
Coyula/ Jack H. Skirball Series $15 [students $12, CalArts $8] Includes
both screenings and discussion
10/23
New York, New York: Cut and Run
http://cutandruntour.wordpress.com/
8:00 pm, 66 E. 4th St. New York, NY 10003
CUT AND RUN: "EVOLUTION AND LIFE" CO-PRESENTED WITH UNIONDOCS
OCTOBER 23 (Sat.) CUT & RUN: "EVOLUTION and LIFE" Cut and Run is a
traveling tour of experimental shorts curated by Mallary Abel and Brenda
Contreras. The "EVOLUTION AND LIFE" program, co-presented with
UnionDocs, focuses on cycles of minds, bodies, and filmstrips. Each work
represents a perspective of itself as one, in contrast to others.
Experience a cinematic evolution through cycles of the mind, body, and
medium in this montage from filmmakers throughout the world. With films
by: 12 ERASED TRAILERS (2010, Spain, 11 min) by Alberto Cabrera Bernal
PEEKS (2009, 3 min) by Jo Dery ALIKI (2010, Cyprus, USA, 5 min) by
Richard Wiebe BODY (2010, France, 7 min) by Frederic Cousseau CAT'S
CRADLE (2010, USA, 4 min) by Ray Rea MEMORIES (2004, Germany, 19 min) by
Sylvia Schedelbauer LILLY (2007, USA, 6 min) by Jodie Mack CUTS IN
MOTION (2008, USA, 5.5 min) by Brenda Contreras Visit the Cut and Run
site for detailed film and program information.
10/23
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
5:00 pm, 32 2nd Avenue
ESSENTIAL CINEMA: ZVENIGORA
by Alexandr Dovzhenko No English intertitles; English synopsis
available, 1928, 96 minutes, 35mm Dovzhenko's second film, attacked by
Soviet critics for being so beautifully rendered as to actually lessen
its political impact, remains today a "cinematic poem" as the director
named it. Dovzhenko wrote: "I did not so much make the picture as sing
it out like a songbird." Episodic, folkloric, and allegorical, it is a
mythic search for hidden treasure by two brothers.
10/23
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30 pm, 32 2nd Avenue
TOM JARMUSCH PROGRAM
PROGRAM 2: SHORTS UNTITLED (4 minutes, 16mm) DREAM (1995/2004, 4
minutes, Super8-to-16mm) Scratches and splices partially obscure this
quizzical tale about a guy buying a gun. FRIENDS (1994, 30 minutes,
video) "The culmination of ten years of bohemian austerity, aesthetic
discipline and bitter life experience. … Jarmusch creates an air of
extreme psychological distance and discontinuity. His Lower East Side
becomes a profoundly alienated, schizophrenic place dominated by random,
seemingly purposeless encounters in which emotional commitment has all
the permanence of a handshake and the 'friends' of the title prove
anything but. … [A]rguably a minor masterwork of comedy of the
grotesque." – Bill Raden, CAPTURED ALFREDO (2000, 8 minutes,
16mm-to-video) A truly lovely, eye-opening silent portrait of 300-pound
artist Alfredo Martinez firing guns and playing video games during his
1999-2000 project QUIET. DOCUMENT MEMORY, FOR MY FRIEND BILL RICE (2006,
12 minutes, video) An all-too-brief document of departed East Village
icon, painter, and actor Bill Rice. Plus, expect a few additional,
surprise shorts…
10/23
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
8:30 pm, 32 2nd Avenue
SOMETIMES CITY
See notes for Oct. 22nd, 7:30 pm.
10/23
San Francisco, California: Other Cinema
http://www.othercinema.com/
8:30pm, Artists' Television Access, 992 Valencia Street, San Francisco, CA 94110
GERRY FIALKA'S PXL THIS 19 +
The penultimate part of our Dead Media mini-series (the fifth
iteration's on 12/11), Gerry Fialka's annual PXL THIS FEST returns to
OC, featuring a new set of motion pictures made with the Fisher–Price
PXL 2000 toy camcorder, a plastic video camera that records low-res b/w
video onto audio-cassettes! The NorCal premiere of PXL inventor's James
Wickstead's Color PXL unveils the only footage ever shot with the
one-of-a-kind PXL-2000 color camcorder. ALSO on view are Jesse Drew's
Cultural Democracy, Mariko Drew's Wild Beast, 6-year-old Chester
Burnett's Donut Memorial, Lisa Marr/Paolo Davanzo's The Chaser, Janor
Hypercleats' Interview with Rockstar Marilyn Osbourne, and Gerry
Fialka's own Effects Precede Causes. An electronic invocation by
presiding media guru Korla Pandit opens the door to a signature Fialka
conspiracy yarn.
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SUNDAY, OCTOBER 24, 2010
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10/24
Boston, Massachusetts: Arts Emerson
https://artsemerson.org/Online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=825C0101-F661-436F-9CDD-FB0A92234FC4
7 pm, Bright Family Screening Room 559 Washington St
AVANT-GARDE SHOWCASE: STAN BRAKHAGE
We commence a recurring showcase of international experimental cinema
with this program of films by Stan Brakhage, the luminary artist whose
oeuvre of over 350 films comprises the passionate, expansive and
visionary poetry of one of the most important figures in the history of
American cinema. Spanning several decades of Brakhage's career, the
selected films: Thigh Line Lyre Triangular (1961, 5 minutes); The
Animals of Eden and After (1970, 35 minutes); Creation (1979, 17
minutes); He Was Born, He Suffered, He Died (1974, 7 minutes); The
Mammals of Victoria (1994, 34 minutes). Prints include recent
restorations by the Academy of Motion Picture Arts and Sciences, which
has dedicated itself to the preservation of Brakhage's films. $10. $7.50
for Members. $5 for Students. 98 minutes Color, Black and White, 16mm
Silent
10/24
London, England: BFI London Film Festival
http://www.bfi.org.uk/lff
12pm to 7pm, BFI Southbank, Belvedere Road, South Bank, SE1 8XT
STUDIO: SHADOW CUTS
SHADOW CUTS (Martin Arnold / Austria 2010 / 4 min) Alternately consumed
by darkness and blinded by the light, Mickey and Pluto are caught in an
eternal embrace by a film that refuses to end. In his films and digital
works, Martin Arnold uses intense repetition or subtle substitution to
reveal subliminal nuances beneath the surface of pre-existing footage.
Continuous Projection. Free Admission.
10/24
London, England: BFI London Film Festival
http://www.bfi.org.uk/lff
2pm, BFI Southbank, Belvedere Road, South Bank, SE1 8XT
THREE FILMS BY NATHANIEL DORSKY
Nathaniel Dorsky finds moments of profound beauty among the shadows,
reflections and luminosity of city life and the natural world. His open
form of filmmaking creates a space for the viewer's contemplation amidst
the subtle and astonishing images which radiate from the screen. This
programme presents two new films together with a recent preservation of
a formative early work. COMPLINE (Nathaniel Dorsky / USA 2009 / 19 min)
"COMPLINE is a night devotion or prayer, the last of the canonical
hours, the final act in a cycle. It is the last film I will be able to
shoot in Kodachrome; a loving duet with and a fond farewell to this
noble emulsion." AUBADE (Nathaniel Dorsky / USA 2010 / 12 min ("An
aubade is a morning song or poem evoking the first rays of the sun at
daybreak. In some sense, it is a new beginning for me." HOURS FOR JEROME
(Nathaniel Dorsky / USA 1966-70/1982 / 45 min) (restoration print) "An
arrangement of images, energies, and illuminations from daily life.
These fragments of light revolve around the four seasons and are very
much a part of the youthful energy and poignant joy of my mid-20s. In
medieval European Catholicism, a 'Book of Hours' was a series of prayers
presented eight times every 24 hours. Each 'hour' had its own qualities,
from pre-dawn till very late at night, and these qualities also changed
through the progressing seasons of the year." HOURS FOR JEROME has been
preserved by Pacific Film Archive with support from the National Film
Preservation Foundation.
10/24
London, England: BFI London Film Festival
http://www.bfi.org.uk/lff
4pm, BFI Southbank, Belvedere Road, South Bank, SE1 8XT
LEWIS KLAHR PRESENTS PROLIX SATORI
Collage artist Lewis Klahr introduces PROLIX SATORI, an ongoing series
which appropriates images from comics, magazines and catalogues. A
filmmaker since the 1980s, his signature style is saturated in
mid-century Americana but addresses universal experience and is
resolutely contemporary. Retaining distinctive handcrafted qualities
across a recent shift to digital, Klahr choreographs comic book
characters in fractured landscapes of patterns, textures and
architectural details. Going beyond abstraction and nostalgic cliché, he
builds high melodrama from modest means, conjuring elliptical narratives
that evoke complex moods and emotions. Within PROLIX SATORI, a new
project of 'couplets' elicits different atmospheres through repetitions
of soundtracks or imagery. An emotive mix of classical, easy listening
and iconic pop music carries viewers through tales of lost love and
wistful reverie. This screening is a chance to be immersed in the
idiosyncratic world of a widely acclaimed artist making his first UK
appearance. FALSE AGING (Lewis Klahr / USA 2008 / 15 min) NIMBUS SMILE
(Lewis Klahr / USA 2009 / 8 min) NIMBUS SEEDS (Lewis Klahr / USA 2009 /
8 min) CUMULONIMBUS (Lewis Klahr / USA 2010 / 10 min) SUGAR SLIM SAYS
(Lewis Klahr / USA 2010 / 7 min) WEDNESDAY MORNING TWO A.M. (Lewis Klahr
/ USA 2009 / 7 min) LETHE (Lewis Klahr / USA 2009 / 23 min)
10/24
London, England: BFI London Film Festival
http://www.bfi.org.uk/lff
7pm, BFI Southbank, Belvedere Road, South Bank, SE1 8XT
BREAK ON THROUGH
GHOST ALGEBRA (Janie Geiser / USA 2009 / 8 min) "Under erratic skies, a
solitary figure navigates a landscape of constructed nature and broken
bones. She peers through a decaying aperture, waiting and watching: the
fragility of the body is exposed for what it is: ephemeral, liquid, a
battlefield of nervous dreams." STILL RAINING, STILL DREAMING (Phil
Solomon / USA 2009 / 15 min) Videogaming was never meant to be this way:
uncanny and elegiac in tone, poignant and considered in practice. By
betraying the violent subtext of his source material, Solomon has found
genuine poetry in the desolate spaces of digitally constructed worlds.
SO SURE OF NOWHERE BUYING TIMES TO COME (David Gatten / USA 2010 / 9
min) The windows of a small antique store in the Rocky Mountains
displays carefully arranged curiosities – specific objects each with
their attendant histories. Visible traces of past uses, previous lives,
secrets and significance. FORMS ARE NOT SELF-SUBSISTENT SUBSTANCES
(Samantha Rebello / UK 2010 / 22 min) Words, concepts, things.
Referencing Aristotle and illuminated manuscripts, Rebello asks 'What is
substance?' Romanesque stone carvings are measured against latter-day
beasts, seeking parity between medieval perception and a present-day
embodiment. FACTS TOLD AT RETAIL (AFTER HENRY JAMES) (Erin Espelie / USA
2010 / 9 min) "The author of The Golden Bowl acts as the confessed
agent, and the glass through which every image is reflected or filtered
takes on a kind of consciousness." COSMIC ALCHEMY (Lawrence Jordan / USA
2010 / 24 min) A voyage in the celestial realm, out beyond
consciousness, steered by a master of mystical transformation. Wondrous
visions are charted on star maps from the Harmonia Macrocosmica to a
spellbinding drone track by John Davis.
10/24
London, England: BFI London Film Festival
http://www.bfi.org.uk/lff
9pm, BFI Southbank, Belvedere Road, South Bank, SE1 8XT
PEOPLE GOING NOWHERE
DE MOUVEMENT (Richard Kerr / Canada 2009 / 7 min) Kerr's mind-bending
trip through the wipes and dissolves of old feature films is an
exhilarating demonstration of the power of cinema. MAY TOMORROW SHINE
THE BRIGHTEST OF ALL YOUR MANY DAYS AS IT WILL BE YOUR LAST (Ben Rivers
& Paul Harnden / UK 2009 / 13 min) Female Japanese cadets patrol the
woods and countryside where old men channel Futurist poets. Adjacent
yes, but simultaneous? BRUNE RENAULT (Neil Beloufa / France 2009 / 17
min) An abandoned car park is no substitute for the open road. Four
characters find themselves in a looped fiction, replete with cliches,
acting out cycles of heightened emotions. Like all teenagers, they think
the world revolves around them – and in this film it almost does. VOT
(Victor Alimpiev / Russia 2010 / 5 min) As if suspended in limbo, or
perhaps deep in rehearsal, five performers exchange glances, gestures
and utter strange sounds. KINDLESS VILLAIN (Janie Geiser / USA 2010 / 4
min) Two boys seem trapped inside their own imaginations, dreaming of
naval battles and Egyptian exotica. COMING ATTRACTIONS (Peter
Tscherkassky / Austria 2010 / 24 min) With humour and materialist
dynamics, Tscherkassky explores the direct relationship between actor,
camera and audience. A meditation on the 'cinema of attractions';
exploiting leftovers from the commercial industry to collide the
intersecting forms of early film and the avant-garde.
10/24
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
7:30 pm, Echo Park Film Center, 1200 N Alvarado St. (@ Sunset Blvd.)
HERE: A SURVEY OF FILMS AND VIDEOS BY VINCENT GRENIER
Vincent Grenier is a pioneering North American film-and-video artist who
has left his distinctive mark on the San Francisco, Montreal and New
York avant-gardes. Grenier's work evinces a keen photographic eye and a
subtle sense of how images combine to create feeling. With influences as
disparate as Eastern painting, Dryer's Jeanne d'Arc and Ernie Gehr,
Grenier has charged his cinema with an electric self-reflexivity whose
energy does not preclude moments of absolute clarity and even meditative
stillness. The evening will range widely in terms of technique, form and
format, but each work achieves a unique poetry that can be at once
tough, tenuous and tender.
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