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This week [February 3 - 10, 2019] in avant garde cinema

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This page is updated every Sunday.
  • Sunday, February 3, 2019
  • Monday, February 4, 2019
  • Tuesday, February 5, 2019
  • Wednesday, February 6, 2019
  • Thursday, February 7, 2019
  • Friday, February 8, 2019
  • Saturday, February 9, 2019
  • Sunday, February 10, 2019
  • This week's programs (summary):

    Sunday, February 3, 2019
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    Austin, TX United States: Experimental Response Cinema
    4:00 PM, AFS Cinema, 6406 N IH-35 Suite 3100
    More Than Meets The Eye: The Cine-Puzzles of Scott Stark
    Filmmaker Scott Stark in attendance. In a bittersweet milestone, AFS and Experimental Response Cinema present a retrospective program of the work of film/video/performance/installation artist Scott Stark in a farewell Austin screening before he relocates to the Bay Area. Topping the bill is Chapter One of his AFS-funded Love and the Epiphanists (2018, 35mm+, 30 mins.). Part 35mm film projection, part performance, part history lesson, part political rant, LatE is an ongoing found-film project sourced from Stark’s vast collection of 35mm Hollywood movie trailers, using a hand-made contact printing process that allows him to repeat, reorder, reverse, double-expose, stain, misalign, twist and otherwise strangle the images. The result is a chaotic narrative and love story set against a future time known as the Epiphany – the moment in history when the effects of climate change became irreversible and undeniable. Preceding this 30 min. cine-performance are three earlier works: Is it true what they say, 2015, HD video, 9 mins. Made for the Texas Archive of the Moving Image for "Mess With Texas" 2015, Is it true what they say uses archival films from "itinerant" filmmakers who traveled the south in the 1930s through the 1950s; the footage is re-ordered and re-presented as ghostly apparitions in modern urban Texas settings. Angel Beach, 2001, 16mm, silent, 18 mins. Anonymous, found 3D still photographs of bikini-clad women from the early 1970s are compressed into a two-dimensional cinematic space, triggering an exuberant visual dance and revealing a troubling and elegiac voyeurism. More Than Meets the Eye: Remaking Jane Fonda, 2006, digital video, 20 mins. Stark “remakes” one of actress-turned-activist-turned-exercise-queen Jane Fonda’s 1980s exercise videos with himself as the performer, meanwhile chronicling the remaking of a celebrity activist and the cultural shifts that allowed it to happen.

    New York, NY: Anthology Film Archives
    5:00 PM, 32 Second Avenue
    EC: O'NEILL / RICHTER / SHARITS
    Pat O'Neill SAUGUS SERIES (1974, 19 min, 16mm) New print! SAUGUS SERIES is actually seven short films, one-and-a-half to six minutes long, united by a common soundtrack. Each is an evolving "still life" made up of meticulously assembled but spatially contradictory elements. Hans Richter RHYTHMUS 21 (1921, 3 min, 35mm, b&w, silent) "Its content is essentially rhythm, the formal vocabulary is elemental geometry, and the structural principle is counterpoint of contrasting opposites." -Standish Lawder TWO PENNY MAGIC / ZWEIGROSCHENZAUBER (1929, 2 min, 16mm, b&w) Produced as a commercial for a German illustrated magazine, this film is an experiment with visual rhymes. EVERYTHING REVOLVES, EVERYTHING TURNS / ALLES DREHT SICH, ALLES BEWEGT SICH (1929, 9 min, 16mm, b&w) "Richter's unique and fascinating view of magic and cruelty in a carnival side-show." -Cecile Starr Paul Sharits N:O:T:H:I:N:G (1968, 36 min, 16mm. Preserved by Anthology Film Archives with support from the National Film Preservation Foundation.) "Based in part on the Tibetan Mandala of the Five Dhyani Buddhas/a journey toward the center of pure consciousness (Dharma-Dhatu Wisdom)/space and motion generated rather than illustrated/time-color energy create virtual shape/in negative time, growth is inverse decay." -Paul Sharits T,O,U,C,H,I,N,G (1969, 12 min, 16mm. Preserved by Anthology Film Archives.) "Starring poet David Franks whose voice appears on the soundtrack/an uncutting and unscratching mandala." -Paul Sharits Total running time: ca. 85 min.

    San Francisco, California: Artists Television Access
    12pm, 992 Valencia Street
    Celebration for Paul Clipson
    For those in San Francisco this coming Sunday, please join us in celebrating Paul's life at the Artist's Television Access, located at 992 Valencia St at 21st St. From 12-3 pm we will be showing an assortment of Paul's less-seen and often humorous works, listening to a few sound pieces by friends, laughing, hugging, contemplating, or whatever you may feel like doing together. There will be some light snacks and beverages, too.

    Monday, February 4, 2019
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    Los Angeles, CA United States: Redcat
    8:30 PM, 631 W 2nd St
    Madison Brookshire: Pure Time
    Exploring the tactile elements of the cinematic experience, the work of artist/filmmaker/ educator/curator Madison Brookshire often features light play that produces complex, unexpected physical reactions through experiments with framing and duration. With As Water Is In Water, he merges his much-lauded camera-less work on 16mm (soaking the film strips in paint) with digital technology. Rephotographed and edited in short, hallucinatory loops, the paintings collide to produce flat panels of time distended with space (set to Revenant, a composition by his collaborator Tashi Wada). He also shows other 16mm films, including Over 30 Minutes, made entirely at the lab using the timing lights of the printing process; and Veils, hand-made and paint soaked, allowing evaporation, dust, crystallization, mold, and more to inform the image. In Person: Madison Brookshire “Walter Pater famously wrote that all art aspires to the condition of music, but Brookshire's films simply assume it, turning cinema from theater into happening.” – Modern Painters “Madison Brookshire comes to filmmaking through his attentiveness to the practices of contemporary musical composition. Inspired by composers such as La Monte Young and Éliane Radigue, as well as his studies with James Tenney and James Benning, Brookshire approaches time experientially, drawing our attention to the manner of its unfolding.” – Chris Kennedy Funded in part by the Ostrovsky Family Fund. Curated by Steve Anker and Bérénice Reynaud as part of the Jack H. Skirball Series.

    Tuesday, February 5, 2019
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    Kansas City, Missouri: Stray Cat Film Center
    7:30pm, 1662 Broadway
    Jason Livingston, Trevor Adams and Momo Real Momo Falso
    Stray Cat welcomes artists Jason Livingston, Trevor Adams and Momo Real Momo Falso to town for a one-time screening of their dynamic experimental films and videos. Jason Livingston’s films consider public spaces physical, public and digital.  This selection of shorts touches on several themes that run through his work, and abandons chronology, remixing his own films and videos to better unearth questions around the commons and how we may sing at the end of the world. Trevor Adams' 16mm shorts straddle between figurative and abstract: shot in a kinetic, diaristic style dealing with found scenarios and loneliness. Usually personal montages set to private narratives, and often incorporate primitive animation techniques--etching and painting directly onto celluloid. The audio score for his films will be provided by Momo Real Momo Falso , who will be playing selected tracks from her upcoming tape release.

    Wednesday, February 6, 2019
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    Madrid: Museo Nacional de Arte Reina Sofia
    7:00 P.M., Calle de Santa Isabel, 52, 28012 Madrid, Spain
    Ismo Ismo Ismo
    Programa 2 Cine reciclado Duración: 59 min Alfredo Salomón. No D.R 2002, 1 min., color, sonido, digital, México. Instituto Cubano de Artes e Industrias Cinematográficas. Newsreel 49 1960, 1 min., b&n, 35mm transferido a digital, Cuba. Rafael Montañez Ortiz. Cowboy and “Indian” Film 1958, 2 min, b&n, sonido, 35mm reducido a 16mm y transferido a digital, Estados Unidos Nicolás Guillén Landrián. Desde la Havana ¡1969! Recordar 1969, 17 min, b&n, sonido, 35mm transferido a digital, Cuba Luis Ospina. El bombardeo de Washington 1972, 1 min, b&n, sonido, 16mm transferido a digital, Colombia y Estados Unidos Ricardo Nicolayevsky. The Big Wack 2002, 3min, b&n, sonido, digital, México Marisol Trujillo, Miriam Talavera, y Pepín Rodriguez, poema de Ernesto Cardenal. Oración por Marilyn Monroe 1983, 8 min, b&n, sonido, 35mm transferido a digital, Cuba Artemio. Apoohcalypse Now 2002, 8 min, color, sonido, digital, México Eduardo Menz. Las mujeres de Pinochet 2004, 12 min, color, sonido, digital, Canadá/Chile Nicolás Testoni. Las ruinas de Bahía Blanca 2012, 5 min, color, b&n, sonido, digital, Argentina Taller Independiente de Cine Experimental. Pobre del cantor 1978, 2 min, color, sonido, Super 8 transferido a digital, México Mostrar menos El noticiero cubano 49 de 1960 muestra a un grupo de seguidores triunfales de la revolución en el techo de las antiguas oficinas de la Warner Brothers y United Artists en Cuba mientras destrozan los carteles de estas distribuidoras hollywoodenses con mazas. Sobre las imágenes de las letras iluminadas gigantes que caen una a una, un narrador invisible entona: “Durante largos años, los filmes norteamericanos envenenaron las pantallas de los cines cubanos, haciendo la apología del imperialismo y predicando la violencia y el crimen. ... Ahora podremos ver las películas revolucionarias de todos los países del mundo”. Mediante esta y otras expropiaciones, el nuevo gobierno cubano incautó también infinitos rollos de películas comerciales que más tarde serían fragmentadas y reutilizadas en muchas producciones del ICAIC (Instituto Cubano del Arte e Industria Cinematográficos). La reutilización del metraje de Hollywood (como de fragmentos de otros cines nacionales, incluido el propio) resuena con una tradición importante de apropiación y reciclaje dentro de la historia de la vanguardia latinoamericana. En Manifesto Antropófago, la histórica provocación de 1928 compuesta por Oswald de Andrade, el poeta y dramaturgo brasileño exigió la captura y la ingesta: “Solo me interesa lo que no es mío. Ley del hombre. Ley del antropófago.” La práctica del cine experimental mediante la apropiación de fragmentos de películas preexistentes sugiere las funciones caníbales arquetípicas no solo como paradigma de una práctica cinematográfica crítica, sino también como una estrategia mayor de descolonización y como un modelo contundente para la producción cultural latinoamericana.

    Thursday, February 7, 2019
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    Los Angeles, California: Ann Arbor Film Festival
    8:00 pm , Echo Park Film Center
    56th Ann Arbor Film Festival Tour
    The 56th Ann Arbor Film Festival tour is very pleased to be making its way to the Echo Park Film Center in Los Angeles! Please come and enjoy an hour long screening filled with some of the most notable experimental and avant-garde films from the 2018 festival. The program includes "Sky Room" by Marianna Milhorat, Bernd Lützeler's "Camera Threat ", Akosua Adoma Owusu's "Mahogany Too", "Growing Girl" by Marnie Ellen Hertzler, and Jennifer Proctor's "Nothing a Little Soap and Water Can't Fix ".

    San Francisco, CA United States: Canyon Cinema
    8:00 PM, Exploratorium, Pier 15 Embarcadero at Green St
    A Salon with Janis Crystal Lipzin
    Canyon Cinema is pleased to welcome filmmaker, curator, and teacher Janis Crystal Lipzin to the Exploratorium’s Kanbar Forum for our first Salon of 2019. A longtime professor of Film and Interdisciplinary Studies at the San Francisco Art Institute, and one of the creators of Eye Music, a pioneering itinerant microcinema that in the 1970s and 1980s showed experimental work in venues across the Bay Area—including the Exploratorium itself—Lipzin has been situated at the center of regional and national avant-garde film cultures for over thirty years. Her recent work combines analog and digital filmmaking techniques as a means of formal, anthropological and photochemical inquiry. Tonight, Lipzin presents the two parts of De Luce, a study of the unpredictable relationship between light and celluloid, as well as the sly amusement park ethnography Micro-Celluloid Incidents in 4 Santas. Las Manos, the most recent iteration of Lipzin's long running Visible Inventory series, also has its San Francisco premiere. These are shown alongside stylistic and thematic antecedents made by women in Canyon’s catalog, including Joyce Wieland’s Solidarity, a sympathetic portrait of striking Canadian workers that never shows a single face; Gunvor Nelson's Field Study #2, a live-action/animation collage hybrid film; and Marie Menken's Notebook, which collects short, radiant sketches and ideas produced by the filmmaker over a twenty year period. Also on display is Lipzin's video installation Luminous Greenhouse, and a series of artist's books she has produced over the last year. Solidarity by Joyce Wieland (16mm) 11min. Las Manos by Janis Crystal Lipzin (digital file) 3 min. Notebook by Marie Menken (16mm) 10 min. Field Study #2 by Gunvor Nelson (16mm) 8 min. De Luce 1: Vegetare by Janis Crystal Lipzin (digital file) 5 min. De Luce 2: Architectura by Janis Crystal Lipzin (digital file) 8.5 min. Micro-Celluloid Incidents in 4 Santas by Janis Crystal Lipzin (digital file) 10 min. free and open to the public Please enter the Exploratorium through the Historic Pier 15 Bulkhead located directly on the Embarcadero. The Kanbar Forum is located to your right immediately upon entry. There will be no Museum access included as part of this screening.

    San Francisco, California: Canyon Cinema
    8 PM, The Exploratorium, Kanbar Forum, Pier 15, Embarcadero
    A Canyon Cinema Salon with Janis Crystal Lipzin
    Canyon Cinema Foundation in association with the Exploratorium presents a conversation with media artist Janis Crystal Lipzin Thursday, February 7 at 8PM at the Exploratorium at Pier 15 on the Embarcadero in San Francisco. This event, the first Canyon Cinema Salon of 2019, is free and doors open at 7:15 to mingle and view a selection of recent artist books and a video sculpture. At 8 PM there will be a screening of recent films by the artist alongside films by women who have been meaningful to her practice followed by an informal dialog with the audience. Films on the program include 4 by Janis Crystal Lipzin: De Luce 1: Vegetare, De Luce 2: Architectura, Micro-Celluloid Incidents in 4 Santas, and the San Francisco premiere of Las Manos. Also screened will be Notebook by Marie Menken, Solidarity by Joyce Wieland, and Field Study 2 by Gunvor Nelson. For more program details visit http://canyoncinema.com/2019/01/24/2719-a-salon-with-janis-crystal-lipzin/

    Friday, February 8, 2019
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    Brooklyn: Microscope Gallery
    7:30pm, 1329 Willoughby Ave 2B
    Hey-Yeun Jang: Films, Video and other works
    Artist in Person! An evening of moving image works by Korea-born, New York-based artist Hey-Yeun Jang. The program includes films, videos and 35mm slide works spanning more than 20 years, from the artist’s 1995 Super VHS video “self-denial”, made in grad school, to her 2016 ,"flickering” a dual 35mm slide projection piece reworking earlier Super 8mm footage of her own eye as well as a new work-in-progress on 16mm film. Jang’s work is at once diaristic and structural, impromptu and staged, embracing accidents and repurposing them as formal elements. It is grounded in her interaction with luminosity and darkness, and the manipulation of the visible through the technologic eye of the camera generating sudden bursts of light, radical shifts in frame speed, shadow plays, swift panning, which ultimately contribute to reveal reality as intimately constituted of light. In “(k)now (t)here”, a tightly edited film dairy, the artist records snippets of one-way trips taken in the summer of 2009 as she decided to open herself up to chance and unforeseen experiences. Her presence throughout the footage emerges through unexpected reflections on mirrors of herself looking through her Bolex, and “by being anonymous, like subtle sound gets amplified in complete silence or dim light grows conspicuous in total darkness”. “Picture Day: flip side” (2007) documents an elementary school's Picture Day, and the children’s struggle to smile and appear natural on camera, while “flickering” (1995-2016) is a slowed-down, deconstructed slide show of consecutive frames the artist shot by accident of her own eye, inverting the relationship between seer and seen. Hey-Yeun Jang is a Korea-born, New York-based installation and film artist. She often uses sequences of 16mm film still images to examine fleeting moments and meaning of swallowed words: explore in-between.Her films have been screened at film venues: New York Film Festival (New York, NY), Rotterdam Film Festival (Rotterdam, Netherlands), Edinburgh International Film Festival (Edinburgh, UK), VIDEOEX (Zurich, Switzerland), Chicago Underground Film Festival (Chicago, IL), Metropolitan Museum of Art (New York, NY), Brooklyn Museum of Art (Brooklyn, NY), National Museum of Contemporary Art (Seoul, Korea), Anthology Film Archives (New York, NY), Los Angeles County Museum (Los Angeles, CA), the Berkeley Art Museum (Berkley, CA), and Kabuki Theater (San Francisco, CA), Echo Park Film Center (Los Angeles, CA), Knitting Factory (New York, NY), LG Art Center (Seoul, Korea).Admission $8, Members & Students $6. More info: www.microscopegallery.com. tel: 347.925.1433, info@microscopegallery.com

    Los Angeles, California: Filmforum
    8:00 pm, Echo Park Film Center, 1200 N. Alvarado St., Los Angeles
    I Can’t Keep Up with Martha Colburn!
    Martha Colburn in person! Since the mid-’90s, Martha Colburn has carved out a wickedly radical space for her animation and collage work in a singular style of unparalleled DIY energy and vision. Los Angeles Filmforum is thrilled to welcome this genuine animation icon back to town for a screening of brand new work alongside lesser known films from her first years of filmmaking! With a vibrating energy that teeters expertly on the edge of chaos, Colburn’s early Super 8 collage animations defined her visionary style from the get-go, evoking DIY/punk/noise/trash vibes, zine and radical collage aesthetics, and un-derground comics, while skewering mass media, pop fetishism, and American mediocrity with an unmatched humor and intensity. Tickets: $10 general; $6 for students/seniors; free for Filmforum members. Avail-able in advance from Brown Paper Tickets at https://marthacolburn.bpt.me or at the door.

    Madrid: Museo Nacional de Arte Reina Sofia
    7:00 P.M., Calle de Santa Isabel, 52, 28012 Madrid, Spain
    Ismo Ismo Ismo
    Programa 3 Sueños de maletas y una langosta azul Duración: 52 min Álvaro Cepeda Zamudio y Gabriel García Márquez. La langosta azul 1954, 29 min, b&n, sonido, Colombia Raúl Ruiz. La maleta 1963-2008, 20 min, b&n, sonido, 16mm transferido a digital, Chile Horacio Coppola. Traum (sueño) 1933, 2 min, b&n, silente, 16mm transferido a digital, Argentina Luis Ernesto Arocha. Las ventanas de Salcedo 1966, 6 min, b&n, sonido, 16mm, Colombia Mariana Botey. El dedal de rosas 1998, 13 min, color, sonido, México Mostrar menos Este programa explora el potencial onírico, perturbador, e irracional en la yuxtaposición de la imagen cinematográfica. En La langosta azul, se puede percibir la semilla del Realismo Mágico. Filmada en una comunidad de pescadores, trata de un agente secreto extranjero, llamado El Gringo, quien investiga la presencia de radiactividad en unas langostas capturadas en un pueblo de pescadores del Caribe. Mientras El Gringo se toma un descanso, un gato le roba una de las langostas. Sus autores, Cepeda y García Márquez, eran enemigos del relato tradicional y defendían que el cine es una forma de expresión diferente, que cuando trata de ser literario, teatral o pictórico, fracasa. Luis Ernesto Arocha está presente en este programa con un trabajo sobre las esculturas de Bernardo Salcedo, quien a través de un montaje frenético y una banda sonora densa y fragmentada empuja la percepción hacia el desconcierto. Traum, temprana obra realizada por el fotógrafo argentino Horacio Coppola en Berlín en 1933, junto a Walter Auerbach, es un ejemplo paradigmático de la fascinación con el surrealismo europeo. La Maleta, primera película de Raúl Ruiz filmada en Chile en 1963, estuvo perdida hasta el 2007, cuando se encontraron los negativos sin editar en dos latas etiquetadas como “Película Francesa”. El dedal de rosas (1998) de Mariana Botey, con participación del polifacético actor/director/artista Juan José Gurrola, funciona como un puente entre dos generaciones de la vanguardia artística mexicana.

    New York, NY: Anthology Film Archives
    7:30 PM, 32 Second Avenue
    EC: PAUL SHARITS
    S:TREAM:S:S:ECTION:S:ECTION:S:S:ECTIONED (1968-70, 41 min, 16mm. Preserved by Anthology Film Archives.) "Yes, S:S:S:S:S:S is beautiful. The successive scratchings of the stream-image film is very powerful vandalism. The film is a very complete organism with all the possible levels really recognized." -Michael Snow COLOR SOUND FRAMES (1974, 26 min, 16mm. Preserved by Anthology Film Archives.) "A film in which Sharits sums up his researches in the area of film strip (in opposition to the individual frames). The film strips move horizontally and vertically; two strips move simultaneously in opposite directions; variations in color; action of sprocket-holes. Very methodically and scientifically he covers the area. […] COLOR SOUND FRAMES advances one area of cinema or one area of researches in cinema (call it art if you wish) to a new climax, to a new peak: his exploration is so total, so perfect." -Jonas Mekas, VILLAGE VOICE Total running time: ca. 70 min.

    Saturday, February 9, 2019
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    New York, NY: Anthology Film Archives
    6:00 PM, 32 Second Avenue
    EC: HARRY SMITH
    FILM NOS. 1-5, 7, 10 (EARLY ABSTRACTIONS) (ca. 1946-57, 23 min, 16mm-to-35mm. Restored by Anthology Film Archives and The Film Foundation with funding provided by the George Lucas Family Foundation.) FILM NO. 11 (MIRROR ANIMATIONS) (ca. 1957, 4 min, 16mm. Newly preserved by Anthology Film Archives!) FILM NO. 14 (LATE SUPERIMPOSITIONS) (1964, 28 min, 16mm) FILM NO. 16 (OZ: THE TIN WOODMAN'S DREAM) (ca. 1967, 15 min, 35mm, silent) "My cinematic excreta is of four varieties: - batiked animations made directly on film between 1939 and 1946; optically printed non-objective studies composed around 1950; semi-realistic animated collages made as part of my alchemical labors of 1957 to 1962; and chronologically super-imposed photographs of actualities formed since the latter year. All these works have been organized in specific patterns derived from the interlocking beats of the respiration, the heart and the EEG Alpha component and should be observed together in order, or not at all, for they are valuable works, works that will forever abide - they made me gray." -Harry Smith Total running time: ca. 75 min.

    New York, NY: Anthology Film Archives
    8:00 PM, 32 Second Avenue
    EC: FILM NO. 12 (HEAVEN AND EARTH MAGIC FEATURE)
    by Harry Smith. Preserved by Anthology Film Archives with support from the National Film Preservation Foundation and Cineric, Inc. A masterpiece of collage animation that, after all these years, continues to boggle the mind. "NO. 12 can be seen as one moment - certainly the most elaborately crafted moment - of the single alchemical film which is Harry Smith's life work. In its seriousness, its austerity, it is one of the strangest and most fascinating landmarks in the history of cinema. Its elaborately constructed soundtrack in which the sounds of various figures are systematically displaced onto other images reflects Smith's abiding concern with auditory effects." -P. Adams Sitney

    Sunday, February 10, 2019
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    Brooklyn, NY United States: UnionDocs
    7:30 PM, 322 Union Ave
    Black Pond: Jessica Rinland
    Artist filmmaker Jessica Sarah Rinland presents the NYC premier of her film Black Pond, followed by a staging of materials related to the project. Black Pond explores the activity within a common land in the south of England. Previously occupied by the 17th century agrarian socialists The Diggers, the land is currently inhabited by a Natural History Society whose occupations include bat and moth trapping, mycology, tree measuring and botanical walks. During two years of filming on the land, the footage was regularly shown to the members of the Society. Their memories and responses were recorded and subsequently used as part of the film’s narration. The film does not offer a comprehensive record of the history of humans within the area. Instead, it explores more intimately, human’s relationship with and within land and nature. Following the film, Rinland will detail content from a forthcoming publication related to the film. She will stage moments from the Society’s yearly town hall meetings, discuss historical maps and laws, letters of complaint and footage she shot in the same location years before her encounter with them. Black Pond. Jessica Sarah Rinland, 16mm film digital transfer and 35mm film stills, 43 min, 2018

    New York, NY: Anthology Film Archives
    8:00 PM, 32 Second Avenue
    EC: RON RICE / JACK SMITH
    Jack Smith SCOTCH TAPE (1962, 3 min, 16mm) A junkyard musical. FLAMING CREATURES (1963, 45 min, 16mm, b&w) "[Smith] graced the anarchic liberation of new American cinema with graphic and rhythmic power worthy of the best of formal cinema. He has attained for the first time in motion pictures a high level of art which is absolutely lacking in decorum; and a treatment of sex which makes us aware of the restraint of all previous filmmakers." -FILM CULTURE Ron Rice CHUMLUM (1964, 23 min, 16mm. With Jack Smith, Mario Montez, Beverly Grant, and Barbara Rubin. Music by Angus Maclise) "One of the underground's best and most influential films." -Peter Gidal Total running time: ca. 75 min.


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