This week [September 1 - 9, 2007] in avant garde cinema

From: Weekly Listing (email suppressed)
Date: Sat Sep 01 2007 - 16:54:57 PDT

This week [September 1 - 9, 2007] in avant garde cinema

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The Collected Writings of Takahiko iimura

Around the Coyote: Diminutive Scale or a Multiplicity of Instances for Festival of Maps! (Chicago, IL, USA; Deadline: September 08, 2007)
Kansas City Filmmakers Jubilee (Kansas City, MO USA; Deadline: December 01, 2007)
Sand Hill Berries Film Festival (NY, NY. USA; Deadline: October 01, 2007)
Compass of Resistance International Film Festival (Bristol, England, UK; Deadline: September 26, 2007)
Signal & Noise (Vancouver, BC, Canada; Deadline: November 01, 2007)
Rhythm from Wreckage! (Portland, OR, USA; Deadline: October 10, 2007)
Boston Underground Film festival (Boston, Ma ; Deadline: December 14, 2007)
Renderyard Film and Documentary Festival (London, England; Deadline: February 15, 2008)

Takoma Park Film Festival (Takoma Park, MD, USA; Deadline: September 01, 2007)
TOFIFEST - International Film Festival (Torun, Poland; Deadline: September 30, 2007)
Visualized Film Festival (Denver; Deadline: October 01, 2007)
Studio 60093 Children's Video Fest (Winnetka, IL 60093 USA; Deadline: September 04, 2007)
Synthetic Zero Loft Events (Bronx, NY, 10454; Deadline: September 15, 2007)
Ann Arbor Film Festival (Ann Arbor, MI, U.S.A.; Deadline: October 01, 2007)
Compass (Bristol, UK.; Deadline: September 10, 2007)
Flicker Spokane Film Festival (Spokane, WA, USA; Deadline: September 25, 2007)
Boulder International Film Festival (boulder; Deadline: September 14, 2007)
Rubric (Denver; Deadline: September 15, 2007)
Artist's Television Access (San Francisco, CA; Deadline: October 01, 2007)
The First Annual Mary Beth Cregier Memorial Photography Exhibition and Competition (Chicago, IL, US; Deadline: September 01, 2007)
Cortopotere (Bergamo - Italia; Deadline: September 10, 2007)
Around the Coyote: Diminutive Scale or a Multiplicity of Instances for Festival of Maps! (Chicago, IL, USA; Deadline: September 08, 2007)
Sand Hill Berries Film Festival (NY, NY. USA; Deadline: October 01, 2007)
Compass of Resistance International Film Festival (Bristol, England, UK; Deadline: September 26, 2007)

Enter your event announcements by going to the Flicker Weekly Listing Form

Also available online at Flicker:

 * Botborg+Storm Bugs+Friends [September 1, London, England]
 * Hellzapoppin' [September 1, New York, New York]
 * Cinemage [September 1, New York, New York]
 * Tune Into Eye Am's 4th Season and Traveling Festival [September 2, New York, New York]
 * Potter-Belmar Labs At the Lab At the Roger Smith Hotel Nyc [September 3, NYC]
 * My Grandmother Screening/Discussion [September 4, Berkeley, California]
 * Potter-Belmar Labs At the Lab [September 4, New York]
 * Newfilmmakers Short Film Program [September 5, New York, New York]
 * Potter-Belmar Labs At the Lab [September 5, New York]
 * 004: Pfvac + Space: New Projections + Installations [September 5, Portland, Maine]
 * My Grandmother Screening/Discussion [September 5, San Francisco, California]
 * Cinema of Prayoga: Indian Experimental Films [September 6, Chicago, Illinois]
 * Accelerated Under-Development: In the Idiom of Santiago Alvarez [September 6, New York, New York]
 * Potter-Belmar Labs At the Lab [September 6, New York]
 * Lichtmusik / Light Music: Mary Ellen Bute [September 7, Linz, Austria]
 * Potter-Belmar Labs At the Lab [September 7, New York]
 * Man With A Movie Camera [September 7, Oakland, CA]
 * Wavelengths Programme 1: What the Water Said [September 7, Toronto, Ontario, Canada]
 * Vine Avenue Film Series In the Park [September 7, Toronto, Ontario, Canada]
 * Wavelengths Programme 2: Winds of Change? [September 8, Toronto, Ontario, Canada]
 * Wavelengths Programme 3: Cross Worlds [September 8, Toronto, Ontario, Canada]
 * Accordi @ Disaccordi Open Air Cinema Festival [September 9, Naples / Napoli, Na, Italy]
 * Truth and Reconciliation: Truth [September 9, Sausalito]
 * Wavelengths Programme 4: In the Space of Time [September 9, Toronto, Ontario, Canada]
 * Wavelengths Programme 5: Schindler's Houses [September 9, Toronto, Ontario, Canada]

Events are sorted by CITY within each DATE.


London, England: The Foundry
5-11pm, The Foundry, 84-86 Great Eastern Street, Shoreditch

  Botborg (Brisbane, Australia) Botborg is an Australian experimental
  audio/visual duo presenting improvised performances of audio visual
  synaesthesia using their own custom setup of 'feedback electronics'
  (affectionately named: the photosonicneurokineasthograph). You 'see'
  sounds, and 'hear' colours - but all these signals are actually the
  *same* signal, completely derived from device feedback. Botborg
  performances fuse sound and light into intensely visceral experiences
  which do not fit into the established categories of cinema or music.
  TOTALLY LIVE MULTI-SENSORY BRUTALITY. Neither There Nor Here Storm Bugs (Steven
  Ball & Philip Sanderson) Live for the first time in 25 years, Storm Bugs
  present an all-new show of audio-visual navigational circuit bending and
  dis-orienteering. All around the roundabout, up and down Shoreditch High
  Street, in and out the Foundry, where are you going and how did you get
  there? Eschewing expectations, not to mention glitchy abstraction or the
  hedonistic thrill of the feedback rush, Storm Bugs turn their attention
  to the here and the now-ness, the there and the then-ness, collapsing
  distance, time, direction and location into a question, a riddle, a
  conundrum. BBBlood (London) Normally people
  write.... "Tinnitus-inducing Insanity, like being vomited on by some
  angry digital god. The only way to appease him is to drill holes in your
  brain, record it, and play the sounds to a roomful of very small
  children." I guess that would work, or you could use this: "BBBlood is
  tobacco-tin red noise from the strike-a-light guvnor of east london." Or
  anything that sounds cool. Twocsinak
  (Bristol) "Twocsinak is exceptionally gifted and I think gets pretty
  much totally ignored. He's a British guy who sings and writes songs and
  edits audio in a very intensive manner. He made a cd on the label Wrong
  Music that should be getting everybody in a lather but I don't think
  anybody has noticed. Check him out!" - Drew Daniel, Matmos Edge Effect (Swindon) Andy Preston
  (aka Edge Effect) attempts to blend high-art sensibilities with Punk
  Rock's do-it-yourself ethic. Andy is a "synthesiser hacker", allowing
  sounds to grow organically using a mixture of improvisation and prepared
  structures to create evolving, dark-ambient textures that he uses to try
  to evoke eldritch images of inner worlds of dreams and hallucinations. also...
  The Dagger Brothers (Bristol)
  Littlecreature (Southampton) + Artamonova (Bristol)
  Company Fuck (Austria) Joe Musgrove
  (Australia) Upstairs music provided
  by Free entry Full
  details will be available at

New York, New York: Anthology Film Archives
6:00 & 8:30, 32 Second Avenue (at Second Street)

  Dir: H.C. Potter. "Rarely shown in the U.S. these days, this 1941 film
  of the wildly deconstructive stage farce with Ole Olsen and Chic Johnson
  is still regarded as a classic in Europe, and it lives up to its
  reputation. The credit sequence establishes the wartime mood with its
  vision of hell as a munitions factory (where demons preside over the
  packaging of Canned Guy and Canned Gal), which is shortly revealed as a
  movie soundstage, the first of many metafictional gags. Very belatedly
  the movie gets around to telling a spare musical-comedy story (with
  swell numbers by Martha Raye and the jazz duo of Slim Gaillard and
  'Slam' Stewart, and some very acrobatic jitterbugging), but the main
  bill of fare is manic nonsense that almost makes the Marx Brothers look
  sober." -Jonathan Rosenbaum, CHICAGO READER.

New York, New York: Anthology Film Archives
8:00, 32 Second Avenue (at Second Street)

  Each night will include the New York premiere of two new Cinemage
  CINEMAGE is Aki Onda's audio-visual project, performances of which are
  composed of slide projections of still photographs and guitar
  improvisation. "Cinemage" means "images for cinema," or "homage for
  cinema." The visual images in CINEMAGE are snapshots taken from Onda's
  daily life. By documenting fragments of his personal life, something is
  revealed in their accumulation - the particulars within lose
  significance. What emerges is the architecture, and the essence, of
  memory. The sensibility is essentially filmic. The photos are more like
  moving images than stills and the style is similar to Chris Marker's LA
  JETÉE. Projected on a screen, the images have the eerie
  familiarity of an out-of-focus memory and evoke a feeling of
  déjà vu. The music is as important as the visual images,
  and not just accompaniment. On this occasion, Loren Conners and Alan
  Licht play guitar in tandem with Onda's visual images. Aki Onda is a
  versatile artist: an electronic musician, composer, and photographer.
  Born in Japan, Onda started his career as a photographer when he was 16
  years old. His first assignment was to take photographs of musicians for
  magazines. Through numerous photo shoots he became acquainted with many
  well-known musicians and decided to become a musician himself. Onda is
  particularly known for his project, CASSETTE MEMORIES, for which he uses
  field-recording sounds he recorded himself as a diary for more than
  fifteen years.


New York, New York: Manhattan Neighborhood Network
9:30-10:30pm, Watch Online at or on cable TWC 34/RCN in Manhattan

  EA airs @ 9:30-10:30pm the 1st Sunday of the month on... Manhattan
  Neighborhood Network Time Warner #34/ RCN #82 (in Manhattan) & Streaming
  Live Online at (Worldwide) Visit
  for complete episode rundown! Episode 12 September 2nd @ 9:30pm: This
  episode is a web of video poems, narrative film, video art, documentary,
  and stop motion animation! Tune in for the work of Devorah Hill, Nancy
  Montuori Stein, Kim Hall, Natalia Surmiak, Sofia Hericson, Sarah
  Friedland, Vanessa Woods, Penny Lane, and Annie Novak & Alexis Powell of
  Meerkat Media Collective. and... Eye Am travels to the 6th Annual Female
  Eye Film Festival ~ October 11-14, 2007 in Toronto, Canada. Filmmakers
  TBA. If you are interested in getting more information about this
  festival and how to submit, please visit (Deadline postmarked September
  12th 2007) *If you are (or knows someone) who is a woman making personal
  short films, videos, or just plain ole art, submit to Eye Am! No
  deadline since the series airs monthly. Accepting minidv and dvd
  formats. Please email email suppressed for submission form and
  details. If you are selected to screen on the television series, you may
  be selected to be part of the traveling festival. Also, there is
  absolutely no entry fee.


NYC: The Lab at the Roger Smith Hotel NYC
starting at 6pm and running past 10, 501 Lexington Avenue, NYC, 10017

  POTTER-BELMAR LABS AT THE LAB SEPTEMBER 3 - 7, 2007 San Antonio-based
  artists Leslie Raymond and Jason Jay Stevens present "Potter-Belmar Labs
  at the Lab," a participatory performance and installation that will
  immerse the Lab at Roger Smith Hotel in the duo's signature spectacle of
  moving images and sound. Potter-Belmar Labs invites the public to
  contribute to their nightly performances by submitting simple,
  personalized, written story elements, which will guide the artists and
  inspire an Improvised Cinema portraying the zeitgeist of our moment. To
  assure that you receive a blank submission card, email
  email suppressed and we'll send you one immediately. Mail the card
  or drop it off at the reception desk of The Roger Smith Hotel, at 501
  Lexington Avenue, New York, NY 10017.


Berkeley, California: Beth Custer
7:30, Jewish Community Center, 1414 Walnut St.

  Send Granny back to Russia fundraiser screenings! There will be a
  screening MY GRANDMOTHER (1929) with Beth Custer's score. Beth will talk
  about the film's history and her process of composing for it. The event
  is in support of The Beth Custer Ensemble's live performances with the
  film in festivals around Europe, Great Britain, and Russia. $20
  donation. Forgotten for a half-century, Kote Mikaberidze's MY
  GRANDMOTHER (CHEMI BEBIA/1929) is a delightful example of the Soviet
  Eccentric Cinema movement as well as an irreverent satire of the then
  still-young Soviet State system. Noted for its anarchic styles—which
  include stop-motion, puppetry, exaggerated camera angles, animation and
  constructivist sets—the film unspools the foibles and follies that
  abound when a Georgian paper pusher, modeled after American silent comic
  Harold Lloyd, loses his job. Beth Custer created a quick-paced pastiche
  of American jazz and blues, contemporary classical, and world folk

New York: Potter-Belmar Labs
starting at 6pm and running past 10, 501 Lexington Avenue, NYC, 10017

  SEPTEMBER 3 - 7, 2007 - - San Antonio-based artists Leslie Raymond and
  Jason Jay Stevens present a participatory performance and installation
  that will immerse the Lab at Roger Smith Hotel in the duo's signature
  spectacle of moving images and sound. visible from the street. - -


New York, New York: Anthology Film Archives
7:00, 32 Second Avenue (at Second Street)

  Stefanos Sitaras HITHERTO (2007, 6 minutes, video). Maria Pusateri VITO
  AFTER (2006, 48 minutes, mini-DV). Vito Friscia is a tough Brooklyn
  homicide detective who survived the rescue efforts of 9/11, spending
  months sifting through toxic rubble, searching for remnants of those who
  perished. An intimate portrait of a family man who was "just doing his

New York: Potter-Belmar Labs
Performaces nightly from 6-10PM , 501 Lexington Avenue, NYC, 10017

  SEPTEMBER 3 - 7, 2007 - - San Antonio-based artists Leslie Raymond and
  Jason Jay Stevens present a participatory performance and installation
  that will immerse the Lab at Roger Smith Hotel in the duo's signature
  spectacle of moving images and sound. visible from the street. - -

Portland, Maine: Portland Film + Video Artists Collective
12 - 6pm, SPACE Gallery, 538 Congress Street

  The Portland Film + Video Artists Collective presents new multimedia
  installations by Collective members at SPACE Gallery, 538 Congress St.,
  Portland, Maine, on view September 5 – 27, 2007. Opening Reception is
  First Friday, September 7 at 5pm. Free public artist talks and
  performances will be held on Thursday, 20 September at 7pm. Gallery
  hours are Tuesday – Saturday, 12 – 6pm. Artists include Sydney and Keith
  Fitzgerald, Ling-Wen Tsai, Stefanie Loeb, Betsy Nelson, Peter
  Shellenberger, Kenneth White, and Deborah Wing-Sproul. Their works
  utilize film and video in combination with painting, performance,
  fabric, and large-format photography, to expand our understanding of
  moving images. Sydney and Keith Fitzgerald present an experimental Super
  8 tour around Mackworth Island in "Yslaneyd." Ling-Wen Tsai, in
  collaboration with composer Nathan Kolosko, present "Water & Wind: Water
  Bugs," a new video in their on-going exploration of invisible elemental
  energies. Stefanie Loeb's "Cotton and Silk" uses film and cloth garments
  to address the materials' transformation over time. Using Super 8
  projection, painting, and performance, Betsy Nelson addresses the
  currently fashionable convergence of feminism and domesticity in
  "Domestic Fowl: Birds Kept for their Eggs and Flesh." The flammability
  of celluloid film is the focus of Peter Shellenberger's "Fool Render
  Dust," a projection of the B – Monster Movie War of the Colossal Beast,
  continuously looped until the film's disintegration. "Directions of
  Encounter" by Kenneth White explores the pliability of time and place in
  quintessential Maine Coast imagery using video projection on to
  large-format transparent DURAclear prints from Super 8. Deborah
  Wing-Sproul presents her new performance-based video "Tidal Culture,
  Part II: Newfoundland, Latitude 49.42N / Longitude 54.45W," the latest
  installment in her on-going address of impermanence in environmental and
  cultural conditions. The Portland Film + Video Artists Collective
  (PFVAC) formed in July 2006. It is committed to the advancement of film
  and video as personal, experimental art forms in Greater Portland.
  Celebration and preservation of creative freedom is paramount in all its
  actions. This is the Collective's fourth event: the previous three were
  held at Zero Station, Portland, Maine, and included "Premiere Showcase"
  (October 2006), "Peter Gruner Shellenberger Retrospective" (March 2007),
  and the "Portland – Syracuse One Take Super 8 Event" with visiting
  artist Brett Kashmere (April 2007). Kenneth White, PFVAC Director:
  email suppressed (207) 233-4674 Nathaniel May, SPACE Gallery
  Executive Director: email suppressed (207) 828 – 5600

San Francisco, California: Beth Custer
7:30, Dolby Laboratories, 100 Potrero Av.

  Send Granny back to Russia fundraiser screenings! There will be a
  screening MY GRANDMOTHER (1929) with Beth Custer's score. Beth will talk
  about the film's history and her process of composing for it. The event
  is in support of The Beth Custer Ensemble's live performances with the
  film in festivals around Europe, Great Britain, and Russia. $20
  donation. RSVP required: email suppressed Forgotten for a
  half-century, Kote Mikaberidze's MY GRANDMOTHER (CHEMI BEBIA/1929) is a
  delightful example of the Soviet Eccentric Cinema movement as well as an
  irreverent satire of the then still-young Soviet State system. Noted for
  its anarchic styles—which include stop-motion, puppetry, exaggerated
  camera angles, animation and constructivist sets—the film unspools the
  foibles and follies that abound when a Georgian paper pusher, modeled
  after American silent comic Harold Lloyd, loses his job. Beth Custer
  created a quick-paced pastiche of American jazz and blues, contemporary
  classical, and world folk music.


Chicago, Illinois: Conversations at the Edge
6:00 pm, 164 N. State St.

  Prayoga loosely translates as "experiment" in Sanskrit. For nearly a
  century, filmmakers have drawn on India's rich aesthetic traditions to
  craft radically original works. Despite the international popularity of
  Bollywood, the country's "Cinema of Prayoga" remains largely unknown.
  Curated by Brad Butler and Karen Mirza of (London) and in
  partnership with Filter India (Mumbai), this program gathers work from
  multiple generations to provide a glimpse into the history of India's
  innovative independents. BIRTH OF SHRI KRISHNA (D.G. Phalke, 1918);
  Sastry, 1968); TRIP (Pramod Pati, 1970); CHILD ON A CHESS BOARD (Vijay
  B. Chandra, 1979); KALIGHAT FETISH (Ashish Avikunthak, 1999); XYZ (Amit
  Dutta, 2004). (1918–2004, various directors, India, ca 90 min)

New York, New York: Anthology Film Archives
7:30, 32 Second Avenue (at Second Street)

  Dir: Travis Wilkerson. Running alongside our nine-day premiere
  engagement of Patricio Guzmán's SALVADOR ALLENDE, Anthology is
  proud to present a series of programs devoted to classic and radical
  Latin American cinema (and its legacy). At the heart of the series are
  the films of Guzmán, who has spent thirty years constructing a
  history of his country unparalleled in scope, commitment, and cinematic
  dynamism, most famously in the astounding, three-part BATTLE OF CHILE, a
  document of the final nine months of the Allende government and the coup
  that toppled it on September 11th, 1973. We will also screen
  Guzmán's CHILE, OBSTINATE MEMORY, the story of his return to
  Chile to screen THE BATTLE OF CHILE for his countrymen and women for the
  first time, and THE PINOCHET CASE, the story of the legal efforts across
  two continents to bring General Augusto Pinochet to trial for the crimes
  of his dictatorship. This will be the first time the complete sequence
  of Patricio Guzmán's films tracing the history of Chile over the
  past 35 years has been screened in the U.S. In addition to this very
  special opportunity to see these films all together, Anthology will
  present two programs devoted to Santiago Alvarez, the great Cuban
  documentary and newsreel filmmaker, as well as Travis Wilkerson's recent
  essay-film about Alvarez, and a long over-due screening of Fernando
  Solanas's THE HOUR OF THE FURNACES, in its full four-and-a-half-hour
  glory!. SANTIAGO ALVAREZ. "The basic elements of an Alvarez film are
  essentially the same as in many television documentaries: still photos
  edited to a soundtrack. In fact, Alvarez announced his esthetic credo in
  this way: 'Give me two photos, music, and a moviola, and I'll give you a
  movie.' But it would be hard to find a style of cinema more removed from
  the niceties of American television documentary than Alvarez's
  remarkably dynamic and bracingly radical montage constructions.
  "Alvarez's work, pursued for forty years within the Cuban Film Institute
  (ICAIC) and its newsreel division Noticiero ICAIC, was a shining example
  of a 'poverty row' esthetic forged from necessity. His films were an
  example of 'urgent cinema,' keyed to raising public consciousness about
  current issues such as racism, housing conditions and police brutality
  in various parts of the world. "However…there is nothing heavily
  theoretical or 'obscurantist' about Alvarez's work. Its appeal is direct
  and highly emotive. It is impossible to watch films like HANOI MARTES 13
  (1967), L.B.J. (1968), or 79 PRIMAVERAS (1969) without being stirred by
  their appeals to justice and compassion. And the way in which Alvarez
  handles the combination of photos, newsreel footage, music, and
  telegrammatic on-screen text (voice-over narration is generally
  eschewed) is unfailingly energetic and inventive - closer to the
  sensational 'tabloid' style of a Sam Fuller than the often
  overintellectualized assemblages of the contemporary 'essay-film.'"
  -Adrian Martin, CINEASTE. Very special thanks to Travis Wilkerson for
  all Santiago Alvarez programs. "ACCELERATED UNDER-DEVELOPMENT uses the
  life of Cuban documentary filmmaker Santiago Alvarez to portray the
  radical changes that have taken place in the 20th century. Wilkerson's
  film, which presents Alvarez's life in ten chapters, borrows from
  Alvarez's methods of expression, combining his words with segments and
  snippits of his films into an experimental construction opposing image,
  word and music." -Murayama Kyoichiro. "Santiago Alvarez understood that
  every film functions as a form of intervention - political and
  aesthetic. With ACCELERATED UNDER-DEVELOPMENT, I chose to intervene on
  behalf of the films of Santiago Alvarez… ACCELERATED UNDER-DEVELOPMENT
  is, in short, a gesture of admiration." -Travis Wilkerson.

New York: Potter-Belmar Labs
Performaces nightly from 6-10PM , 501 Lexington Avenue, NYC, 10017

  SEPTEMBER 3 - 7, 2007 - - San Antonio-based artists Leslie Raymond and
  Jason Jay Stevens present a participatory performance and installation
  that will immerse the Lab at Roger Smith Hotel in the duo's signature
  spectacle of moving images and sound. visible from the street. - -


Linz, Austria: Institute for Media Archaeology (IMA)
11:00 am, Marienstr. 7, former China Restaurant

  Screening and Lecture - presented by Sandra Naumann

New York: Potter-Belmar Labs
Performaces nightly from 6-10PM , 501 Lexington Avenue, NYC, 10017

  SEPTEMBER 3 - 7, 2007 - - San Antonio-based artists Leslie Raymond and
  Jason Jay Stevens present a participatory performance and installation
  that will immerse the Lab at Roger Smith Hotel in the duo's signature
  spectacle of moving images and sound. visible from the street. - -

Oakland, CA: The Great Wall of Oakland
7:56pm, West Grand Avenue at Valley Street

  Monumental outdoor screening of a treatment of Dziga Vertov's Man With a
  Movie Camera with live music soundtrack [bring fm radio]. A collective
  effort by performative projectionist and musicians of Cinepimps Abridged
  [Alfonso Alvarez, Christian Bruno, Steve Dye, Charles Kremenak, Suki
  O'Kane, et alia].

Toronto, Ontario, Canada: Toronto International Film Festival
6:00 PM, Varisty 7

  The sea – fierce, omnipotent and bewitching– unites these three visually
  diverse films. Chris Chong Chan Fui's POOL is a touching portrait of a
  community attempting to rebuild and heal itself following the
  devastating 2004 Indian Ocean tsunami that shocked the world. The
  titular swimming pool is a temporary makeshift basin created to help the
  children of Aceh, Indonesia, face their fear of water and learn to swim
  again, despite the losses their community suffered when the sea came
  crashing in. Chong Chan Fui observes their progress with affection and a
  poet's eye. David Gatten's newly completed film project What the Water
  Said gives this programme its title. What the water said is literally
  inscribed on the strips of unexposed celluloid that Gatten cast into the
  Atlantic Ocean off the coast of South Carolina. Encased in crab traps,
  the fragmented filmstrips harbour mystical messages from the underwater
  world, a source of seemingly never-ending fascination. The sea, its
  salt, sand and rocks, and its gnawing creatures have created the film's
  inimitable textured patterns and sounds, while passages from Western
  literature's greatest sea odysseys – from The Life and Adventures of
  Robinson Crusoe to Moby Dick – remind us of the sea's singular place in
  our imagination. As the staggering effects of the sea's might hover
  beneath the resounding humanism of POOL, its sublime is no more strongly
  felt than in Peter Hutton's magisterial At Sea. Put simply, the film
  tells the story ("the birth, life and death," in the director's words)
  of a container ship – but there are no words to adequately describe the
  film's awesome visual expedition. Hutton knows the sea. His experiences
  as a former merchant seaman have informed his filmmaking practice, known
  for its rigour and epic beauty. At Sea begins in South Korea with
  diminutive workers shipbuilding. The colossal vessel is revealed in de
  Chirico-worthy proportions, its magnitude surreal to the human eye. Off
  to sea, the splendour and intensity of the water – set against the
  vibrant colours of the containers – causes us to see the world anew. The
  film concludes in Bangladesh amidst shipbreakers as enthralled by
  Hutton's camera as we are by his images.

Toronto, Ontario, Canada: Liaison of Independent Filmmakers of Toronto
8:00pm, Vine Avenue Play Park, Vine Ave. at McMurray Ave., Toronto (1 block north of Dundas St. W., 2 west of Keele St.)

  The Junction Arts Festival and The Liaison of Independent Filmmakers of
  Toronto (LIFT) present the Vine Avenue Film Series In the Park. Short
  16mm, 8mm and super 8 films for the entire family. Films for children
  plus experimental films by Izabella Pruska-Oldenhof, David Rimmer,
  Barbara Sternberg, Erika Loic, Jason Britski, Norman McLaren and John
  Porter. Curated by John Price. The park is next to an active railroad
  track and a train may pass during the screening, so the films follow a
  train theme. John Porter will perform his super 8 Train Scannings on the
  long fence along the train tracks. Free. Unrated. Weather permitting.
  Vine Avenue Play Park is at the west end of Vine Ave. at McMurray Ave.,
  1 block north of Dundas St. W. and 2 west of Keele St., Toronto.


Toronto, Ontario, Canada: Toronto International Film Festival
7:45 PM, Varsity 7

  The three films in this programme serve as potent reminders of endlessly
  renewed trespasses, of the cycles of violence, injustice, complacency
  and greed that ever entrap us. Far from didactic, this selection gathers
  lyrical, visual meditations on issues – such as racism and hegemony –
  that are too often subsumed into the showy découpages that have become
  our daily news. Avant-garde political filmmaking responds with resolve,
  conviction, innovation and, ultimately, faith to the shaky ground on
  which we toddle. The "Change" of the programme's title also refers to a
  great loss suffered by the avant-garde community, the death last year of
  Danièle Huillet, who with her partner Jean-Marie Straub was responsible
  for some of the world's greatest filmic works of art. Their final work
  is an unsigned cinétract commissioned last year in celebration of
  Roberto Rossellini's centenary. Only in their hands would a tribute to
  his Europa 51 yield an indictment against the endemic race and class
  strife plaguing modern-day France, with its forsaken banlieues. Europa
  2005, 27 Octobre is a digital-video protest leaflet commemorating the
  deaths of two teenaged boys who lost their lives fleeing the brutal hand
  of the French police. Employing the barest of means, it provides a
  sustained time and place for remembrance.Legendary underground filmmaker
  Ken Jacobs has also turned to video, creating flickering worlds out of
  nineteenth-century stereoscopic images. His Capitalism: Slavery is a
  haunting and mesmeric rondo of cotton-picking slaves; frozen in history,
  yet awakened through art.Profit motive and the whispering wind by John
  Gianvito is an astonishingly elegant and elegiac chronicle of the
  history of the progressive movement in America that is told through its
  cemeteries, plaques and monuments, its symbolic and physical landscape.
  Propelling us on this journey is a wind of change that summons and
  gathers the images that lend voice to those who have disappeared from
  cultural memory. Working in a materialist mode in the tradition of
  Straub-Huillet, Gianvito has crafted a beautiful landscape film that
  pays homage to those who fought for their beliefs, one whose underlying
  force and tensions are compelled by the perfidious acts committed by the
  current government of the United States.

Toronto, Ontario, Canada: Toronto International Film Festival
9:45 PM, Varsity 7

  Our place in the world can seem utterly, even devastatingly precarious.
  A sense of being at home helps to combat the rootlessness, uncertainty
  and anxieties that make up the human condition. Yet feeling at home (or
  adrift) in the world is possible anywhere – from one's backyard to far
  beyond. This collection of 16mm films highlights the remarkable
  elasticity of this universal theme. Daïchi Saïto stays close to home
  with All That Rises, a striking collaboration with violinist Malcolm
  Goldstein, with whom he shares an alleyway in Montreal. The dense and
  luminous hand-processed and printed footage combines with extemporized
  violin to form a unique tribute to the duo's neighbourhood. In Cross
  Worlds, Cécile Fontaine conflates professional and amateur travel
  footage, creating an energized criss-crossing of rigorously worked
  material. With The Acrobat, a compelling consideration of human
  aspiration, gravity and politics, Chris Kennedy combines archival
  footage and poetic text to question our footing in the world: is it ever
  permissible to stumble or fall? Echo by Izabella Pruska-Oldenhof boldly
  explores homesickness and cultural yearning through visual imagery, song
  and text. In this atypical self-portrait, the artist has created a
  photogram of her body that acts as a travelling matte through the
  countryside of her native land as she mouths an old Polish immigrant's
  song; the original recording pierces like an arrow through the distance
  of time. Like Echo, The Butterfly in Winter is a poignant personal
  document offering impressionistic glimpses of beauty. It concludes the
  trilogy Here It Is Very Nice at the Moment, begun by Ute Aurand and
  Maria Lang in 1981. A fast-moving yet serene portrait, the film depicts
  Lang at home, lovingly tending to her ninety-six-year-old mother. Every
  day is the same and every day is different, as the rituals of waking,
  washing and eating are filled with physical and emotional truth. From
  diary to love letter, we move to Enrico Mandirola's sensual Monica, a
  multilingual and border-crossing search for that same profound truth of
  existence. Muddy and mysterious, Monica comes into being just as it
  begins to slip away.


Naples / Napoli, Na, Italy: Movies Event
09:10pm, Parco del POGGIO - Viale del Poggio di Capodimonte

  The Open-air Film Festival, held yearly for at least two months,
  showcases the best of European and International Cinema. This Outdoor
  Film Festival counts this year its eighth, will take place from June
  29th until September 9th 2007, and with the attendance of over 30,000
  viewers screens features, documentaries, shorts, pocket movies and music
  videos. The projections start at 9.10 pm and last until full night; open
  air screenings rise in Arena * Parco del POGGIO * (HILL Park), the
  fabulous and picturesque site near the Capodimonte Area in Naples /
  Napoli NA Italy. It's a special delight in order to enjoy cinema beneath
  the stars on warm summer nights in an amphiteatre equipped with one of
  the widest projection screens in Italy, which rises up having an
  artificial lake all around. These events really make people revive the
  movies each night of the Festival! The admittance price is very cheap:
  Euro 3.50 per day. Details of films shown as part of the screening
  programs will be released and available for this Open-air Film Festival
  at the end of June 2007 on the official website.

Sausalito: San Francisco Cinematheque
3:00pm, Headlands Center for the Arts, 944 Fort Barry

  2005 Headlands alumnus Jeanne C. Finley and partner John Muse's Lost
  (with John Muse) combines an excerpt from the audio diary of an Army
  Chaplain serving in Iraq, who must reconcile his soldiers' justifiable
  shooting of an Iraqi man with the dismal reality that the dead man's
  widow and children now face, with a serene and foggy landscape symbolic
  of its narrator's clouded perspective. 2007 Headlands Artist in
  Residence Magnus Bärtås' series of short documentaries, Who is...?
  reenact their subjects' eclectic biographies in large and small detail,
  their histories translated from memory by the filmmaker from
  conversations many years earlier. 2004 Headlands alumnus Ramin Bahrani's
  2005 feature Man Push Cart tells the story of a Pakistani coffee-cart
  vendor in New York City, played by an actor whose own biography overlaps
  substantially with the fictional narrative. (Anuradha Vikram, Headlands
  Center for the Arts)

Toronto, Ontario, Canada: Toronto International Film Festival
7:15 PM, Varsity 7

  In this "space of time," works of pure cinema draw inspiration from life
  – from art, objects, nature and emotions. Leading British avant-garde
  filmmaker Nicky Hamlyn is known for evoking the beauty in the everyday.
  His Quartet comprises four variations on the same twenty shots of a
  room, all beautiful "still lives." In the first two sections of the
  film, each shot contains an element of the subsequent shot, forming a
  necklace of images. These are strung together through a studied and
  sensual accumulation of time and space, both on the screen and in the
  imaginary. Thereafter, a release from structure compels us from
  contemplation toward memory and recreation. As a filmmaker, painter and
  expert in textile art, Hannes Schüpbach is intimately attentive to the
  ineffable yet physical act of creation. His Erzählung is a graceful
  portrait of Cesare Ferronato, an eighty-year-old Italian sculptor living
  and working in Zurich. Filmed in Zurich and Montelicciano, Italy, in
  2006, Erzählung displays Schüpbach's signature style – subtlety,
  layering, silence, cadence, photographic beauty – as it observes a life
  devoted to the artistic process. With Schüpbach as sensitive witness,
  the work harbours an inspiring meeting of two artists, and just as wax
  and stone are sculpted, so too is time. Quotidian moments of shared joy
  and companionship hold the potential for greatness. Punctuated with an
  effective use of black frames, this silent film bespeaks a mystery that
  hovers within and between the images, between the sculptor and those
  with whom he shares his life, and between film and sculpture as artistic
  forms. As works in both media come to completion, a triumphant sense of
  human endeavour lingers beyond this tale. The programme draws to a close
  with gone by Karø Goldt, who describes the work as "a farewell film."
  Using experimental photographic prints as her source material, the
  artist extracts the essence of things, mining their unique colours and
  their ephemeral impressions. The billowing softness of gone is created
  through animating a photograph of an arum flower and, together with a
  wistful musical score, the video stages a beautiful evanescence. The end
  approaches, but memory promises to endure.

Toronto, Ontario, Canada: Toronto International Film Festival
9:45 PM, Varsity 1

  In Thailand, a Royal Anthem honouring the King is played before all film
  screenings and is therefore an integral part of the experience of going
  to the cinema. With characteristic joy and narrative experimentation,
  Apichatpong Weerasethakul, Thailand's brightest cinematic export,
  fashions his own pre-film anthem: a five-minute feel-good, ritualistic
  blessing meant to ensure the main attraction's success. Lighthearted yet
  precisely constructed, The Anthem is a delightfully offbeat celebration
  of cinema for its collective experience as much as its temporal movement
  in space, or in other words, for its external as well as internal
  architecture. The latest feature film by Heinz Emigholz, Schindler's
  Houses is the twelfth work in this leading German avant-garde
  filmmaker's ongoing and critically lauded Photography and Beyond series.
  Begun in 1984, this singular series, which will ultimately amount to
  twenty-five films on art and design, has garnered Emigholz a solid place
  among the world's greatest aesthetes. Emigholz employs the tools of
  filmmaking to meditate on the physical beauty of man-made works of art,
  namely buildings. Employing a taxonomic approach to an architectural
  body of work – "architecture as autobiography," as Emigholz calls it –
  Schindler's Houses presents us with just that: forty houses built in and
  around Los Angeles by Austro-American architect Rudolf M. Schindler
  between 1931 and 1952. Following an esteemed (and precarious) tutelage
  with Frank Lloyd Wright, Schindler went on to become one of the key
  figures in twentieth-century Modernist American architecture, using
  California as his muse and developing a personal artistic vocabulary
  which embraced heterogeneity. Introducing each Schindler dwelling with a
  title card and the date on which it was filmed (all in May 2006), the
  film embodies structural precision. Emigholz's camera is as resolutely
  still as his eye is exacting, serving up one gorgeous image after the
  next. The sound is rich with life, even in its silences. As Schindler's
  buildings are presented in their current states, an underlying theme of
  urban decay lends a prescient tone to the film, making it one of the
  most contemporary and compelling portraits of Los Angeles yet seen.
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