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This week [September 15 - 22, 2019] in avant garde cinema

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This page is updated every Sunday.
  • Sunday, September 15, 2019
  • Tuesday, September 17, 2019
  • Wednesday, September 18, 2019
  • Thursday, September 19, 2019
  • Friday, September 20, 2019
  • Saturday, September 21, 2019
  • Sunday, September 22, 2019
  • This week's programs (summary):

    Sunday, September 15, 2019
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    New York, NY: Anthology Film Archives
    6:00 PM, 32 Second Avenue
    VITO ACCONCI: PROGRAM 3 (1971)
    BREATH IN(TO) / BREATH OUT(OF) (1971, 3.5 min, Super-8mm-to-16mm) WATCH (1971, 10 min, Super-8mm-to-16mm) WATERWAYS (BURST; STORAGE) (1971, 8 min, Super-8mm-to-16mm) TRAINING GROUND (1971, 10 min, Super-8mm-to-16mm) DIRECTIONS (1971, 18.5 min, Super-8mm-to-16mm) Total running time: ca. 55 min.

    New York, NY: Anthology Film Archives
    8:15 PM, 32 Second Avenue
    VITO ACCONCI: PROGRAM 4 (1972)
    CROSS-FRONTS (1972, 25 min, Super-8mm-to-16mm) FACE TO FACE (1972, 16 min, Super-8mm-to-16mm) HAND TO HAND (1972, 13 min, Super-8mm-to-16mm) GO BETWEEN (1972, 10 min, Super-8mm-to-16mm) ANCHORS (1972, 21.5 min, Super-8mm-to-16mm) Total running time: ca. 90 min.

    Tuesday, September 17, 2019
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    Brooklyn, NY United States: Light Industry
    7:00 PM, 155 Freeman St
    Mike Plante on Cinemad
    Riding the last big wave of the zine distribution era, Cinemad reached hundreds of bookstores worldwide before being reinvented as an online publication in 2003 and later transforming into a podcast. Plante began hosting screenings of the filmmakers he wrote about, eventually moving to Los Angeles, becoming a programmer for Sundance, and directing films of his own. Now, for the 20th anniversary of its debut, Mike Plante has assembled a survey of the magazine’s rambunctious early years and subsequent evolution. A revelatory transmission from cinema’s outer limits at the turn of the millennium, his illustrated talk will be accompanied by original audio interviews as well as a screening of choice works that circled through Cinemad’s orbit: a new restoration of LA legend Nina Menkes’ first film, A Soft Warrior (1981), the flickering melancholy of Naomi Uman’s Private Movie (2000), Stom Sogo’s mind-bending transmedia memoir Periodical Effect (2002), Stephanie Barber’s cryptic, participatory Total Power, dead dead dead (2005), Bobcat Goldthwait’s home movies, and a gambling lesson from Orson Welles. Tickets - $8, available at door. Please note: seating is limited. First-come, first-served. Box office opens at 6:30pm.

    Mexico City: Filmforum
    10:00AM-6:00PM, through Sunday, Sept. 22, Museo Tamayo, Paseo de la Reforma 51, Col. Bosque de Chapultepec
    Ismo Ismo Ismo: Redes
    This program showcases female filmmakers who sought to carve out a place within the male-dominated world of Latin American independent audiovisual production. Key works, such as Argentine filmmaker Narcisa Hirsch’s super 8 'Come Out' and Cecilia Vicuña's 'Paracas' exemplify the defiant position toward gendered and essentializing aesthetics expected of Latin American women filmmakers. The program also includes pioneering Uruguayan filmmaker Lydia García Millán’s Color, one of the first abstract experimental films from Latin America, the politically charged Super 8 experiments by Puerto Rican underground artist Poli Marichal, an imagined dialogue with an iconic painting of Diego Rivera by Silvia Gruner, and a comic short essay by Mexican artist Ximena Cuevas.

    New York, NY: Anthology Film Archives
    6:30 PM, 32 Second Avenue
    LUTZ DAMMBECK: EXPERIMENTAL FILM PROGRAM
    METAMORPHOSES I / METAMORPHOSEN I (1978, 7 min, 35mm-to-DCP) For the 1977 intermedia exhibition Tangents I, Dammbeck and artist Frieder Heinze had planned a film that would combine non-camera animation with 35mm footage of a train ride through Dresden. When Tangents I was banned Dammbeck continued working on the film by himself. METAMORPHOSES I - the first experimental film to be shown publicly in the GDR - marks the filmic beginning of Dammbeck's long-term art project the HERAKLES-KONZEPT (HERCULES CONCEPT). HOMAGE TO LA SARRAZ / HOMMAGE À LA SARRAZ (1981, 12 min, 35mm-to-DCP. In German with English subtitles.) Experimenting with over-painting and non-camera animation, Dammbeck relocates his Leipzig-based artists circle to La Sarraz Castle in Switzerland, the site of a legendary 1929 congress held by European avant-garde filmmakers, including Sergei Eisenstein, Béla Balázs, Ivor Montagu, Hans Richter, and Walter Ruttmann. FIRST LEIPZIG AUTUMN SALON / 1. LEIPZIGER HERBSTSALON (1984-2008, 22 min, 16mm-to-DCP, silent) In 1984, Dammbeck and five young Leipzig artists secretly organized this renegade exhibition in protest of the official East German art market. This short film consists of original footage, shot by cinematographer Thomas Plenert, of the artists preparing the exhibition the day before its opening. THE CAVE OF HERCULES/HERAKLES HÖHLE (1983-90, 45 min, 16mm-to-DCP. In German with English subtitles.) Despite seeing his film project HERCULES rejected by DEFA Studios in 1983-84, Dammbeck remained fascinated by the Hercules story. He started experimenting with different media combinations, using overpainting, photography, film clips, collage, painting, and movement. These experiments resulted in groundbreaking multimedia collaborations, as well as the film THE CAVE OF HERCULES, in which Dammbeck explores a series of questions inspired by this classical figure. Who was the legendary hero Hercules? Is there a new Hercules today? How are heroes created in a totalitarian society? What are the virtues of heroes? This multi-layered experimental film combines projections of collected film clips, quotations from "The Willful Child" by the Brothers Grimm, and "Hercules 2 or the Hydra" by Heiner Müller, as well as dance scenes with Eva Schmale that were performed - at Kampnagel in Hamburg - specifically for the film.Total running time: ca. 100 min.

    Wednesday, September 18, 2019
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    Berkeley, California: Pacific Film Archive
    7pm, 2155 Center Street
    Jodie Mack: Pattern Language
    For well over a decade, Jodie Mack has employed labor-intensive single-frame animation techniques to explore the graphic and poetic possibilities in the materials and patterns of everyday life. A virtuoso of the 16mm film medium, she creates works with a seemingly effortless exuberance that belies the rigorous process behind each lovingly rendered project. On the occasion of her residency at the Headlands Center for the Arts, we welcome Mack to present a program of her own films along with works by animators she admires. —Kate MacKay. Films in this Screening: Rad Plaid, Jodie Mack, United States, 2010 | Maltese Cross Movement, Keewatin Dewdney, Canada, 1967 | No. 15 Untitled Animation of Seminole Patchwork Film, Harry Smith, United States, 1965–66 | Blanket Statement #2, It’s All or Nothing, Jodie Mack, United States, 2013 | Spiral Vessel, Janie Geiser, United States, 2000 | Posthaste Perennial Patterns, Jodie Mack, United States, 2010 | Plants, Deanna Morse, United States, 1989 | Yard Work Is Hard Work, Jodie Mack, United States, 2008 | Wasteland No. 1: Ardent, Verdant, Jodie Mack, United States, 2017

    Philadelphia, Pennsylvania: Nightletter
    7:30pm, 5213 Grays Ave
    If There’s Been A Way To Build It, There’ll Be A Way To Destroy It
    Introduced and programmed by Jesse Pires, Chief Curator, Lightbox Film Center. "For more than a century, the automobile has wreaked havoc on the planet in immeasurable ways, yet we continue to depend on the convenience and ubiquity of this luxury item on a daily basis. We have sculpted the terrain of our planet with a network of monumental highways traversing densely populated urban expanses along with vast areas of unsettled wilderness. Viewed from the car window (a simulacrum of the movie screen) the built environment merges with the natural environment, creating cognitive tension unique to the present day. The films in this program present a regional context to explore this disjunctive experience of human life in the Anthropocene. Madeleine Gekiere’s They are Not Chrysanthemums: Only Man Can Make a Rivet and Nancy Holt’s Pine Barrens are in many ways parallel films—the former, a jarring cacophony of industrial infrastructure punctuated by the music of Glenn Branca; the latter, a meditation on an oft-mythologized hinterland set to the music of Bill Patton's Pine Barrens Trio. All three films are linked by the automobile, a human invention speeding us into a ruinous future of our own making." —Jesse Pires Tyrone, PA / Katrina Martin / 1978 / 16 min / 16mm They are Not Chrysanthemums: Only Man Can Make a Rivet / Madeleine Gekiere / 1984 / 37 min / 16mm Pine Barrens / Nancy Holt / 1975 / 31 min / 16mm

    San Francisco, CA United States: Artists' Television Access
    8:00 PM, 992 Valencia St
    Periwinkle Cinema! Virgo Season Mystery Porn!
    Virgo Season Mystery Porn Box. Its that time of year between summer and fall when the days start to turn golden and the sun light starts to turn in earlier and earlier. The chill in the air bringing to mind the end of summer, of flings and carefree nights. Join Periwinkle Cinema as we dig into our archive of vintage LGBT porn from the 70s and 80s. We may even have a special contemporary treat! This program is 18+ only. As always, FREE POPCORN, Raffle and door prizes!$7-10

    Thursday, September 19, 2019
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    Brooklyn, NY United States: UnionDocs
    7:30 PM, 322 Union Ave
    Words With My Family
    We’re delighted to include a public event alongside our Workshop - Art of the Interview organized with Sarah Friedland. WORDS WITH MY FAMILY brings together films, and audio pieces in which makers bravely interview members of their own family with humorous, intimate and revealing results. Conversations with our family can be some of the most comfortable moments, as well as the most fraught. Including pieces by Sarah Friedland, Ruth Somalo, Neena Pathak, Ng’endo Mukii, Nyssa Chow, and Iva Radivojevic this program finds the moments where secrets are discovered or shared, and also where parts of oneself are actively hidden from those we know intimately; sometimes the best, the least, and that strange combination of both. ------------ PROGRAM ------------ Ricki Ticki 6 min, 2013 The Director interviews her father about his relationship with his sister. Ricki Ticki is about my Aunt Ricki’s struggle with early onset Alzheimer’s. For the last ten years of her life—from 50 to 60 years old—she lived in a home for the aged overlooking Coney Island, ironically located blocks from where she was born. The piece uses her loss of memory and character as a metaphor for the effects of redevelopment in New York City. Your father was born a 100 years old, and so was the Nakba ابوكي خلق عمره ١٠٠ سنة، زي النكبة 7 min, 2017 A ghostly voice echoes: the disembodied, imaginary voice of the filmmaker’s grandmother, a Palestinian refugee in Lebanon who was never able to return to her hometown. Her words haunt Google Street View images of Haifa, the only means she could have had of visiting her lost home. But 50 years after the “great catastrophe,” the streets are no longer recognizable. The old woman’s soul wanders in vain through cyberspace in search of her house, probably demolished after the Nakba, and for her son Ameen, imagined as a little boy from another time. Over the images, which distort and pixilate as the network connection cuts in and out, are superimposed images of the trauma of forced relocation. Razan AlSalah pays heartbreaking tribute to the first generation of refugees. Eusebio El Americano 14 min, 2015 The Director interviews her father as he moves his father’s bones from one side of the cemetery to another. My grandfather Eusebio and his best friend emigrated to South America when they were young, after years of friendship they made a pact to be buried together when they died. 23 years after my grandfather’s death we are forced to relocate his remains to a columbarium as the granddaughter of my granddad’s friend is kicking him out due to mausoleums and burial space getting more expensive and she wants it back. Trough the filming process and the encounter with the human remains of my grandfather, I am able to explore our relationship with the dead after burial, the emotions attached to it and the anthropological and pragmatic aspects of our current burial practices. Yellow Fever 7 min, 2015 The Director interviews her niece about her relationship to whiteness. A captivating blend of live action, stop motion, spoken word and vibrant hand-drawn animation exploring the effects of Eurocentric beauty ideals, as disseminated by mainstream media and advertising, on African women. Row-Cub 5 min, 2019 The director creates a re-enactment of a conversation between her and her grandmother. Aaji (Grandma) is in her 90s, proficient in English but more comfortable in Marathi, and hard-of-hearing. Mithu is in her 30s, okay at Marathi (but speaks in a stilted, error-filled, and somewhat childlike way common to many second-generation immigrants), and heartbroken. The piece explores how bearing witness to each other in a family context can be hard and fraught, even when it might be worth it. Silas' Portrait There is a story here. This is my Great Aunt Silla, my Great-Grandmother Sasa, and my Grandmother Cecelia. There is an assertion of grace in this image. It was taken during a time when scientists were speculating that these women had more in common with an ape, than with a human being. There is a message about a way of being encoded in this photograph. I can’t say for sure, but I suspect it has something to do with the fact that they are dressed in white, even though the roads would have been muddy and unpaved from here to anywhere they were expected to go. I suspect it has something to do with my grandmother’s unruly, natural hair stretched back into that neat bun. The way British women wore their hair. Or something to do with my grandmother’s love for the Queen of England, though she would not have been welcome on the grounds of the Country Club, except as a maid. The following is the life story of my Great Aunt Silla Rosales. It traces her friendship with my Grandmother Cecelia. Both are daughters, wives, mothers and grandmothers. It spans five generations, including my own. Knedle, Grandma Project 8 min, 2016 Dragica is a superhero, she shares her powers through her food. Those who eat it are overcome with love. 73 min Sarah Friedland received her BA from Sarah Lawrence College and the International School of Film and Television in Cuba and her MFA from the Integrated Media Art Program at Hunter College. Her documentary films and installations are concerned with personal stories that reveal larger histories and intricacies about place and society. Friedland’s works with longtime collaborator Esy Casey have screened widely in the US and abroad and have been supported by grants from the Jerome Foundation, the Paul Newman Foundation, the William H. Prusoff Foundation, The Princess Grace Foundation, the Ford Foundation, and the Center for Asian American Media. In 2009, after the debut of her feature documentary Thing With No Name, she was named one of the “Top 10 Independent Filmmakers to Watch” by the Independent Magazine. She is a recipient of the 2014 Paul Robeson award from the Newark Museum for her documentary The Rink, which aired on PBS (WNET/NJTV) in 2017 and was nominated for a New York Emmy. She is currently working on a feature documentary titled Lyd In Exile, which she is co-directing with Rami Younis, and which was selected to pitch at the DocCorner Market at the Cannes Film Festival in 2018. . She has received residencies and fellowships from the Center of Contemporary Art in Pont- Aven, the LABA House of Study, the MacDowell Colony, and Meerkat Media. Friedland is the Director of the MDOCS Storyteller’s Institute at Skidmore College.

    Los Angeles, California: Filmforum
    7:00 pm, MOCA Grand Avenue, 250 South Grand Ave.,
    Makino Takashi: Memento Stella
    Los Angeles Filmforum at MOCA presents Makino Takashi: Memento Stella Thursday, September 19, 2019, 7:00pm At MOCA Grand Avenue, 250 South Grand Ave., Los Angeles, CA 90012 Los Angeles premiere! Los Angeles Filmforum and MOCA are thrilled to welcome Japanese artist Makino Takashi back to Los Angeles for the LA premiere of his mesmerizing new feature-length work, MEMENTO STELLA. Using material filmed in numerous cities throughout his travels, Makino radically manipulates and transforms this footage into swirling, immersive masses of energy that feature up to two hundred layers of complex superimposition. Working at 4K resolution and 5.1 sound, Makino’s latest work is a deeply affecting investigation into the micro- and macrocosmic, and an intricate audio-visual treatise on the ephemerality of memory, experience, and existence. This program is made possible with support from The Japan Foundation. Tickets: $15 general; $10 for seniors; $8 for students with ID; free for Filmforum and MOCA members. Available in advance from Brown Paper Tickets at https://www.brownpapertickets.com/event/4328134 or at the door. For more information: www.lafilmforum.org or 323-377-7238, 213/621-1745 or education@moca.org

    New York, NY: Anthology Film Archives
    7:30 PM, 32 Second Avenue
    JONAS MEKAS TRIBUTE SCREENINGS PART 2: PROGRAM 8
    by Jonas MekasShare +Twitter. Jonas Mekas A VISIT TO HANS RICHTER (1967/2003, 9 min, 16mm) This piece had its world premiere as the opening film of the Hans Richter Tribute at Cinema Arsenal in the summer of 2003. The nine minutes of film are a compilation of all appearances of Hans Richter in Jonas's films. The result is a new work, a singular contemporary document, which does not only capture Hans Richter, but shows him embedded in his environment. Jonas Mekas SCENES FROM THE LIFE OF HERMANN NITSCH (2005, 58 min, digital) "A casual, personal portrait of Hermann Nitsch, made with footage I took over the many years of our friendship. Footage includes early performances in New York, images of Hermann shortly after the acquisition of the Prinzendorf monastery, which since has become his main space of activity. You also see Hermann with his Vienna, New York, and Napoli friends, Peter Kubelka, Raimund Abraham, Gunther Brus, George Maciunas, Giuseppe Morra, and others." -Jonas Mekas Total running time: ca. 70 min.

    Friday, September 20, 2019
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    BURBANK, CA: VASTLAB
    8pm, 624 N. Victory, Burbank, CA 91502
    VASTLAB Experimental Festival
    Over the past 2 years, Experimental Film and Visuals have been a deep thread in the fabric of VASTLab. With that, we are kicking off a weekend dedicated to Experimental Film with the VASTLab Experimental Film Festival running Fri Sept 20 + Sat Sept 21 in Burbank, CA. Sounds both nights by humors Program includes Experimental Short Fiction, Short Non-Fiction, Short Animation, VR, and Projection Mapping by: Victor Acevedo André Almeida Rodrigues Jenny E. Balisle Cesare Bedogne Gregg Biermann Giuseppe Boccassini Sara Bonaventura Lana Caplan Enzo Cillo Roger Deutsch Francisca Duran Alican Durbaş Paul Echeverria Pamela Falkenberg Gwendolyn Audrey Foster Harvey Goldman and Jing Wang Luis Grane Houston Guy Karissa Hahn Mike Hoolboom Shon Kim Kate Lain Fabiola Larios Hugo Ljungbäck Carolina Marconi Michael Mersereau Zoe Meyer Vivian Ostrovsky Clémence Parente Ruth Patir Avner Pinchover Edward Ramsay-Morin Juana Robles Alexandria Searls Aldo Tambellini Kent Tate Marina Mardas Tomohiko Tsuji M Kennedy Volcofsky Daniel Watkins Matt Whitman M. Woods

    Burbank, CA: The Vast Lab
    9/20-9/21 8-10PM , N Victory Blvd, Burbank, CA 91502, United States
    The Vast Lab Experimental Festival
    For tickets: https://www.eventbrite.com/e/vastlab-experimental-film-festival-tickets-63910307450?ref=ebtnebtckt OVER THE PAST 2 YEARS, EXPERIMENTAL FILM AND VISUALS HAVE BEEN A DEEP THREAD IN THE FABRIC OF VASTLAB. WITH THAT, WE ARE KICKING OFF A WEEKEND DEDICATED TO EXPERIMENTAL FILM WITH THE VASTLAB EXPERIMENTAL FESTIVAL RUNNING FRI SEPT 20 + SAT SEPT 21 IN BURBANK, CA. SOUNDS BOTH NIGHTS BY HUMORS PROGRAM INCLUDES EXPERIMENTAL SHORT FICTION, SHORT NON-FICTION, SHORT ANIMATION, VR, AND PROJECTION MAPPING Featuring: Victor Acevedo André Almeida Rodrigues Jenny E. Balisle Cesare Bedogne Gregg Biermann Giuseppe Boccassini Sara Bonaventura Lana Caplan Enzo Cillo Roger Deutsch Francisca Duran Alican Durbaş Paul Echeverria Pamela Falkenberg Gwendolyn Audrey Foster Harvey Goldman and Jing Wang Luis Grane Houston Guy Karissa Hahn Mike Hoolboom Shon Kim Kate Lain Fabiola Larios Hugo Ljungbäck Carolina Marconi Michael Mersereau Zoe Meyer Vivian Ostrovsky Clémence Parente Ruth Patir Avner Pinchover Edward Ramsay-Morin Juana Robles Alexandria Searls Aldo Tambellini Kent Tate Marina Mardas Tomohiko Tsuji M Kennedy Volcofsky Daniel Watkins Matt Whitman M. Woods About VASTLab: Building community with experimental Visual, Audio, Story & Technology Arts. Whether on-site in our studio or at an off-site satellite program, VAST Lab is a creative incubator. A place for Lovers, Learners, and Masters to Collaborate, Create, & Connect. VAST LAB IS A 501(C)(3) NON-PROFIT CREATIVE COLLABORATIVE BASED IN LOS ANGELES, CA.

    New York, NY United States: Filmmakers Coop
    7:00 PM, 475 Park Ave S, Fl 6th
    The Animated Picture Show presents: A Tribute to Suzan Pitt
    Join us as FMC screens animated films by the late Suzan Pitt, a visual poet who passed earlier this summer. Her work as world renowned multi-media artist has left a huge impact on the experimental animation film community and FMC. This is a great opportunity for long time fans and those who are unfamiliar with her work to experience the magic of her unique techniques and dream-like subject matter. Rsvp required: filmmakerscoop@gmail.com to reserve your seat!

    New York, NY: Anthology Film Archives
    7:00 PM, 32 Second Avenue
    CHRISTINE IN THE CUTTING ROOM
    by Susan Stryker. SUSAN STRYKER IN PERSON! "An ongoing multimedia project that uses the story of mid-20th-century transgender celebrity Christine Jorgensen to explore the relationship between embodiment and image-making. Jorgensen, who had formal training in photography and worked at one point as a film editor in RKO's newsreels unit, intuitively grasped that transsexuality was a technology of appearance-making that operated according to a cinematic logic; it was a practice that shifted her from one side of the camera to the other - from image-maker to spectacular image - and allowed her unseen subjectivity to become visually perceptible. CHRISTINE IN THE CUTTING ROOM uses found-footage filmmaking techniques and flash-cut editing to call attention to the materiality of the filmic medium, while telling Jorgensen's story about the implosion of embodiment and representation, the refiguration of subject/object, and the mutual enmeshment of audience and image in a cinematic apparatus." -Susan Stryker

    New York, New York: Maysles Cinema
    7:30pm, 343 Malcolm X Blvd
    The Big Crossover @URL: The Experimental Television of Kalup Linzy & Human Trash Dump
    The Big Crossover @URL continues with a presentation of experimental television in light of how the idea of the channel, distribution, video creation and plurality of subject have evolved alongside and against the move from network cable to digital spaces. Artist Kalup Linzy and members of video label Human Trash Dump will be presenting and discussing their work. This will be the World Premiere of the third season of Kalup Linzy’s As Da Art World Might Turn. Human Trash Dump will be showing Frankenstein’s Monster (Made in AmeriKKKa): Homecoming – Portrait of an AmeriKKKan Family.

    New York, New York: Cinema Studies -- New York University
    7:00PM, 721 Broadway 6th Floor
    The Computational Sublime: Videos by Gregg Biermann
    A widely screened film and video artist who has been working since the late '80s, NYU Cinema Studies is excited to host Gregg Biermann, who will be at NYU to present a survey of work he completed over the last decade. Often working with footage from Hollywood classics like The Wizard of Oz (1939), Rear Window (1954), North by Northwest (1959), and others, Biermann's work takes advantage of the possibilities of digital cinema to advance rigorous compositional strategies. Free and open to the public.

    Oakland, CA: Shapeshifters Cinema
    8pm, 567 5th St.
    Jeremy Rourke
    Jeremy Rourke is a self-taught animator and musician. His animation table is full of photo-puppets, clay, paint, pens, pencils, paper ephemera, lights, shadows, and flora. During live performances, he uses his animation in conjunction with lyrics, instrumental music, stories, sound samples, multiple projectors and real-time interactions with the screen to create an immersive expanded cinema.

    Saturday, September 21, 2019
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    Portland, Oregon: Fireworks
    4pm, Albina Green, the corner of N Sumner and N Albina
    Fireworks: a screen/dance film festival
    FIREWORKS is an experimental screen/dance program highlighting groundbreaking visual artists that work in both film and physical movement practices. This year featuring works by Brontez Purnell, Charles Atlas, Barbara Hammer, Anna Luisa Petrisko, Christopher Maclaine and Danièle Wilmouth. Performances by Amber Pasta and Daniel Coka.

    Sunday, September 22, 2019
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    Brooklyn, NY United States: UnionDocs
    7:30 PM, 322 Union Ave
    The Still Life of Harley Prosper
    We are excited to welcome Juan Manuel Sepúlveda to present his most recent feature, The Still Life of Harley Prosper co-presented with Latin Film Reel. An esteemed cinematographer, Sepúlveda takes the documentary interview to a new extreme, in this claustrophobic exploration of the mind of a dying man escaping his legacy as the spiritual conscience of his Native American community. Sepúlveda traces his protagonists struggle to come to terms with a quickly approaching death, his struggle with addiction, and the reliance of others on those who can no longer provide. Prosper wanted to leave a testimony of this struggle, and his family, Cree Nation people from the plains, have almost disappeared. Sepulveda writes “He has something very important to tell me and it will be better if I bring the camera. A film starts developing as a testimonial account of a man who was chosen to become the medicine man of his community and who decided to deny his responsibility… during three weeks, day and night, Harley and I made a film about the fascinating path of a man who keeps prolonging his sacred mission until the last moment.” We’re delighted to have Juan Manuel Sepúlveda in attendance for conversation following the film.

    Los Angeles, California: Filmforum
    7:30 pm, Echo Park Film Center, 1200 N. Alvarado St.,
    Apparitions: Recent Handmade Wonders from the French Film Lab L’Abominable
    L’Abominable is an artist-run film laboratory near Paris. Since 1996, it offers filmmakers the tools to work with silver-based film material: super-8, 16mm and 35mm. Over the years, a wide array of makers have hand-produced an astonishing selection of films outside the realm of large corporations, including “live” film performances or installations using the film medium. The scope of what is produced there and the specificity of practices make L’Abominable a unique place of creation, a living conservatory of cinematographic techniques. Very much akin to the Echo Park Film Center, L’Abominable’s filmmakers retain the art and the artisanal in each hand-crafted frame. Filmforum hosts a new touring program of recent works by filmmakers there, all films having their LA premieres! Including Les films du dés-apparaître - #1 - Mes cheuvs dans ta, by Oscar Hache; Cailloux, rocher, algues, By David Dudouit; Midnight Orange, By Gautam Valluri; El Oro de Cajamarca, By Alexandre Regol; Trilogie carnassière #1, by Carole Thibaud; Dos sueños después (Two Dreams Later), by Pilar Monsell; Cactos, a film by Leonor Guerra; Septième Fraction (Seventh Fraction), By Guillaume Mazloum. Tickets: $10 general; $6 students (with ID)/seniors; free for Filmforum Members. Available in advance from Brown Paper Tickets at https://labominable.bpt.me or at the door. For more information: www.lafilmforum.org or 323-377-7238.


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