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This week [November 17 - 24, 2019] in avant garde cinema

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This page is updated every Sunday.
  • Sunday, November 17, 2019
  • Monday, November 18, 2019
  • Tuesday, November 19, 2019
  • Wednesday, November 20, 2019
  • Thursday, November 21, 2019
  • Friday, November 22, 2019
  • Saturday, November 23, 2019
  • Sunday, November 24, 2019
  • This week's programs (summary):

    Sunday, November 17, 2019
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    Los Angeles, California: Filmforum
    1:00 pm, TCL Chinese Theatre
    South Oxford, All Iowa Lawn tennis Club, Maravilla, Serve
    Filmforum co-hosts the following at AFI Fest, http://fest.afi.com South Oxford, All Iowa Lawn tennis Club, Maravilla, Serve By Darius Clark Monroe USA, 2019, Feature Documentary, 46 min. Screening: Saturday, November 16 @ 9:00 pm, Chinese 5 Sunday, November 17 @ 1:00 pm, Chinese 5 https://fest.afi.com/2019/short-films-2019/south-oxford-all-iowa-lawn-tennis-club-maravilla-serve Filmmaker Darius Clark Monroe returns to the screen with a series of intimate nonfiction shorts exploring America’s culture and passion for tennis and handball. Four stories, warmly crafted with both archival and original materials, illustrates the great humanity of society and the powerful, soulful bond we experience through sports. Richard Northern and his wife reflect on owning a tennis club for almost two decades in Brooklyn. In Iowa, Mark Kuhn shares his story of building a grass-court on their farmland and what their passion project means after the family is struck by tragedy. An East LA handball court creates an unexpected community amongst political and social turmoil. A woman cares for her elderly mother while passionately coaching students on the court. Their stories, warmly crafted with both archival and original materials, illustrates the great humanity of society and the powerful, soulful bond we experience through sports. Darius Clark Monroe (BLACK 14, RANDOM ACTS OF FLYNESS, EVOLUTION OF A CRIMINAL) is a writer, producer and director. Monroe’s collective work has screened at SXSW, BAMcinemaFest, Full Frame, BlackStar, MoMA, Whitney Museum, Palm Springs, Sundance, True/False, New Directors, AFI FEST, Tribeca, Telluride, Tokyo and Uppsala and appeared on HBO, PBS, Netflix, and at innumerable galleries, schools, churches, backyards, and hotel banquet halls. Monroe was born/bred in Houston and lives in BedStuy, BK.

    Montrèal: VISIONS
    20H, la lumière collective [7080, rue Alexandra, #506, Montréal]
    VISIONS: FILIPA CÉSAR | 17.11.19 | SPELL REEL
    ​Filipa César was born in Portugal in 1975 ; she lives and works in Berlin. She studied at the University of the Arts in Porto and Lisbon, at the Academy of the Arts in Munich and obtained a master’s in Context at the University of the Arts in Berlin (2007). Her work interrogates the porous relation between the animated image and its reception by the public. || Filipa César est née au Portugal en 1975 ; elle vit et travaille à Berlin. Elle a étudié à la Faculté des Arts de Porto et de Lisbonne, à l’Académie des Arts de Munich et a obtenu le Master Art in Context de l’Université des Arts de Berlin (2007). Son travail interroge la relation poreuse entre l’image animée et sa réception publique. Tickets $7

    New York, NY: Anthology Film Archives
    5:30 PM, 32 Second Avenue
    JONAS MEKAS, PROGRAM 5: THE EDUCATION OF SEBASTIAN OR EGYPT REGAINED
    THE EDUCATION OF SEBASTIAN OR EGYPT REGAINED (1992, 228 min, digital) A video record of a mental and physical journey through 5,000 years of Egypt at the End of History; an attempt to reconnect with the Source, with Jean Houston acting as Virgil; as Sebastian watches and absorbs it all from the corner of his eye, focusing on the tip of the Great Pyramid. All very personal, and it goes on and on, perhaps of very little meaning to others, but of crucial importance to myself, a record not for Entertainment or Public Exhibition, but something to share with friends, one long evening. Maybe there is a letter to my friends about a very crucial journey back to Ithaca - and a present for Sebastian, something that he'll rediscover when he'll be approaching the age when I, Odysseus, began my own travels - this may serve him as a beginner's map - the Fates will give him better ones.

    Monday, November 18, 2019
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    Baltimore, MD United States: SNF Parkway Theatre / Maryland Film Fest
    7:00 PM, 5 West North Avenue
    Myth & Memory: 16mm restorations from the Academy Film Archive
    SIGHT UNSEEN PRESENTS: MYTH & MEMORY 16mm restorations from the Academy Film Archive This special program has been curated, and will be presented by Curator, & Film Preservationist, Mark Toscano. "This program is composed of some films I’ve worked on over the past few years, a diverse mix of 16mm shorts which approach these themes in a wide range of techniques and tones, from dreamy to direct to sensual to ecstatic, and spanning animation, found footage, home movies, portraiture, scrapbooks, reminiscences, fantasies, and fireworks. A deep current of empathy runs vividly throughout these beautiful, moving, and complicated works, and I’m thrilled to do my first ever program in Baltimore with some genuine favorites of mine." Program and notes by Mark Toscano. Thanks to the filmmakers and Canyon Cinema. PROGRAM TRT: 84.5m Anselmo Chick Strand, 1967, 16mm, color, sound, 4m “An experimental documentary in the sense that it is a symbolic reenactment of a real event. I asked a Mexican Indian friend what he would like most in the world. His answer was, "A double E flat tuba." I thought it would be easy to find one at the Goodwill very cheap. This wasn't so, but a sympathetic man in a music store found a cheap but beautiful brass wrap-around tuba. I bought it, smuggled it into Mexico and gave it to my friend in the desert. The film is a poetic interpretation of this event in celebration of wishes and tubas.” (Chick Strand) Crocus Suzan Pitt, 1971, 16mm, color, sound, 7m “In her early masterpiece, Suzan Pitt created a movingly intimate and dream-like self-portrait of the young artist in the conflicted, prismatic identity of mother, wife, artist, and sexual being.” (Mark Toscano) Throbs Fred Worden, 1972, 16mm, bw & color, sound, 7m "Fred Worden's magical CalArts thesis film collages all manner of spectacle (car crashes, football, circus, television) into a hypnotic and dream-like reverie that feels somehow personal, as if a revisited catalog of images that might once have given him delight in his youth. The eclectic source material, woven together with genuine and unexpected beauty on the optical printer, moves from refrain to refrain with a fluidity that suggests a free-associating cinematic consciousness, a momentary pause in the now on the then." (Mark Toscano) The Secret Story Janie Geiser, 1996, 16mm, color, sound, 8.5m “The Secret Story arose as a response to several beautifully decayed toy figures from the 1930s that were given to me as a gift. These figures, and other toys, objects and illustrations that I found from the period between the world wars, suggested a kind of unearthed hidden narrative which I have attempted to re-piece together, as if these figures were the hieroglyphics of a just-forgotten tongue. THE SECRET STORY revolves around the central figure of the woman, and her girl-double, who look somewhat like versions of Snow White. She wanders through landscapes of rivers and floods, home and war, and memory and illness, culminating in an ecstatic walk in the forest, suggesting both the dark and cathartic trajectories of the richest fairy tales.” (Janie Geiser) Back in the Saddle Again Scott Stark, 1997, 16mm, bw, sound, 8m “A family's playful interaction with a 16mm sound movie camera, singing along as a group with Gene Autry's title song in front of the camera, combines western fantasy, American kitsch, gender posturing, deterioration of the film's surface, the wonderment of the cinematic process, and the use of controlled accidents to shape the form of the film. My only intrusion on the footage was to print it first in negative, which adds a bleak, mysterious edge to it, and to print it again in positive, which seems to answer many of the questions raised in the first part.” (Scott Stark) Chronicles of a Lying Spirit by Kelly Gabron Cauleen Smith, 1992, 16mm, color, sound, 6m “Chronicles was really fun to make in part because it was truth and out-and-out lies combined, written history and oral history combined. It’s my theory, I guess, that Black women have always been doing incredible things throughout history and that we’ve been able to do these things in part because no one pays much attention to us. While you can feel - I hate to use the word - disempowered by being invisible, I think a lot of women have been resourceful in making invisibility a shield that protects them while they do and experience amazing things. Chronicles was an homage to all the accomplished Black women in global history who are not documented anywhere.” (Cauleen Smith) Where’d She Go? Gus Van Sant, 1982, 16mm, color, sound, 3m “Superficially a sweet, sad, and funny tribute to the filmmaker’s recently deceased grandmother, Van Sant’s early short film resonates on a larger scale with questions about time, memory, class, and family.” (Mark Toscano) Roslyn Romance (is it really true?) Bruce Baillie, 1976, 16mm, color, sound, 16m “My Romance is intended for something like "broadcast" form, or like a correspondence ... not so much for showing a big batch of it at one sitting. … The work seems to be a sort of manual, concerning all the stuff of the cycle of life, from the most detailed mundanery to ... God knows.” (Bruce Baillie) Women I Love Barbara Hammer, 1976, 16mm, color, sound, 25m “Women I Love is a series of cameo portraits of the filmmaker's friends and lovers intercut with a playful celebration of fruits and vegetables pixilated in nature. Culminating footage evokes a tantric painting of sexuality sustained.” (Barbara Hammer) Restored by Electronic Arts Intermix and the Academy Film Archive through the National Film Preservation Foundation’s Avant-Garde Masters Grant program and The Film Foundation. Funding provided by the George Lucas Family Foundation. ABOUT THE CURATOR Mark Toscano is a filmmaker, curator, and film preservationist based in Los Angeles. Since 2003, he has worked at the Academy Film Archive, where he specializes in the curation, conservation, and preservation of artists’ films. He works with the collections of over 100 filmmakers, and has overseen the conservation and preservation of hundreds of films, including work by Stan Brakhage, Barbara Hammer, Chick Strand, Tacita Dean, Penelope Spheeris, the Whitney brothers, Gus Van Sant, Pat O’Neill, Suzan Pitt, and many others. He has curated and presented programs at numerous venues, including MoMA, Arsenal, Eye Filmmuseum, Centre Pompidou, and festivals in Rotterdam, London, Oberhausen, Zagreb, Bangalore, Seoul, and elsewhere. He is a programmer with Los Angeles Filmforum, and has lectured at various universities on experimental film and archiving, as well as teaching in the Experimental Animation department at CalArts.

    Tuesday, November 19, 2019
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    Brooklyn, NY United States: Light Industry
    7:00 PM, 155 Freeman St
    Mati Diop's Atlantiques + Nagisa Oshima's Death by Hanging
    Introduced by Daniel Schmidt Atlantiques, Mati Diop, 2009, digital projection, 15 mins Death by Hanging, Nagisa Oshima, 1968, digital projection, 118 mins \

    Philadelphia, Pennsylvania: Nightletter
    7:30pm, 413 S. 44th Street
    An Evening With Peter Rose
    One of the major yet still underappreciated heroes of the American Experimental cinema of the 1970s and 80s, Philadelphia-based artist Peter Rose has created a body of work fusing his interest in the nature of the physical film frame itself with the humor of invented languages and idioms. Rose is a master of the optical printer, which he used to combine as many as 25 separately photographed 16mm images into each frame. In Analogies, Rose uses this technique to break down his “Godardian movements” (in the words of Amos Vogel), creating something akin to filmic cubism. The Man Who Could Not See Far Enough utilizes the same technique (and more!) alongside an autobiographical narrative. It is a film that can move from a solar eclipse to a first person perspective climbing the Golden Gate Bridge in intricate patterns all to investigate the act of seeing. With the final three films in our program, Rose reveals his increased interest in language and the written word. Secondary Currents uses only a black screen and white text as its image accompanied by voiceover. As the film proceeds, language begins to fail until the screen is entirely filled with letters devoid of meaning. Pressures of the Text highlights another amusement with language. Rose himself performs a parody of the professorial lecture, exaggerating academic jargon to such a fever pitch that he begins to speak in a convincing form of gibberish. SpiritMatters presents a similar game where text presented horizontally as a photographed image and also painted on the film frame itself running vertically, playing tricks on our perception while constantly service as a reminder of film’s dual existence as both a record and an object. FILMS WILL INCLUDE: Analogies: Studies in the Movement of Time / Peter Rose / 1977 / 14 min / 16mm The Man Who Could Not See Far Enough / Peter Rose / 1981 / 32 min / 16mm Secondary Currents / Peter Rose / 1982 / 16 min / 16mm The Pressures of the Text / Peter Rose / 1983 / 17 min / Digital Video SpiritMatters / Peter Rose / 1984 / 6 min / 16mm

    Wednesday, November 20, 2019
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    Los Angeles, California: Filmforum
    3:30 pm, TCL Chinese Theatre
    Present. Perfect. (WAN MEI XIAN ZAI SHI)
    Filmforum co-hosts the following at AFI Fest, http://fest.afi.com Present. Perfect. (WAN MEI XIAN ZAI SHI) By Shengze Zhu USA, Hong Kong, 2019, Feature Documentary, 124 min. Screening Wednesday, November 20 @ 3:30 pm, Chinese 2 Thursday, November 21 @ 5:30 pm, Chinese 2 https://fest.afi.com/2019/short-films-2019/present-perfect-wan-mei-xian-zai-shi Winner of the Tiger Award at the 2019 Rotterdam Film Festival, PRESENT.PERFECT. is a poetic demonstration of the need to seek out or create global communities and the shrouded threat that doing so poses to state control. Zhu Shengze’s found-footage documentary compiles live streaming footage from over 800 hours of material. Its hosts are those with disabilities, the marginalized and the working-class, who poetically demonstrate the need to seek out or create global communities and the threat this poses to state control. An immersive depiction of the proliferation of self-documentation in China before its suppression by the country’s 2017 Cybersecurity Law, Zhu Shengze’s enthralling found-footage documentary compiles live streaming footage assembled from over 800 hours of material. By enabling individuals — many of whom are disabled, marginalized or from the working class — to candidly engage with viewers and also generate revenue, live streaming not only provides a meager supplemental income, but also a vital source of connection to those who are particularly vulnerable and live in relative isolation and obscurity. Shengze Zhu is a documentary filmmaker and producer. She co-founded Burn The Film with Zhengfan Yang, her collaborator since 2012. Her directorial debut OUT OF FOCUS (2014) premiered at Cinéma du Réel; her second film ANOTHER YEAR (2016) received the Best Film Award at Visions du Réel, Grand Prize at RIDM Montreal Int’l Documentary Festival, Critic’s Award at Olhar de Cinema (Brazil), and was honored as “Top 10 Films of the Year” in 2016 by 24 Images. Her third film PRESENT.PERFECT. received the Tiger Award at the International Film Festival Rotterdam.

    New York, NY: Anthology Film Archives
    7:30 PM, 32 Second Avenue
    MILLENNIUM FILM JOURNAL NO. 70
    "I came to think of the film strip as a body that's acquiring memory." -Alexandre Larose, quoted in Tess Takahashi's article on his film BROUILLARD #14 The works in this program are all featured in Millennium Film Journal No. 70 (Fall 2019, "Body Memory"). The body is a consistent presence in the issue - as image of self-identity, as corporate culture battleground, as representation of colonialist tendencies in sculptural memorials, and as reminder of the demise of several major figures in our field. All descriptions are taken from articles in MFJ No. 70. For more info about Millennium, visit: mfj-online.org Adam & Zack Khalil CULTURE CAPTURE: TERMINAL ADDITION (2019, 7 min, digital) "What if a shadowy militant cell started breaking into universities and museums, digitally reclaiming indigenous patrimony, and disappearing public monuments to colonialism? The NRO is not offering how-to guides but rather pre-figuring possible modes of resistance. Positing the reterritorialization of indigenous culture in the digital realm, they reveal and contest how the settler colonial imaginary has already claimed the digital 'frontier' in advance, as well as the futurity with which it is associated." -Patrick Harrison, "New Red Order" Alexandre Larose BROUILLARD #14 (2012, 10 min, 35mm) "In much the same way that many popular data visualizations compress decades into a few seconds or minutes, BROUILLARD #14 condenses and averages over forty individual ten-minute walks into a single ten-minute cinematic passage. […] Despite its visual vibrations and disjoints, BROUILLARD #14's layering of ambulatory passes through the Quebec landscape surrounding the home of Larose's parents produces an average of experience that results in a relatively steady amalgamated image." -Tess Takahashi, "Alexandre Larose's BROUILLARD #14: Analog Experimental Film as Data Visualization" Ardele Lister SUGAR DADDY (1980, 30 min, digital) "A life-saving feminist talisman. As we look over old family photos and scattered audio cassettes, Lister explains that for 20 years her father had a mistress, Eva M.: a warm and generous woman whom the child Ardele knew and loved, and a prostitute. In a remarkable breach of patriarchal rules, the two stayed in touch throughout the affair, and Eva's confidence in Lister was such that she sent her audio recordings in the hope that she would write her biography. What follows is an uncanny reenactment." -Laura U. Marks, "Ardele Lister's Divine Irony" Marie Losier BYUN, OBJET TROUVÉ (2012, 7 min, 16mm) "Byun is a North Korean artist, and he escaped the dictatorship there. He's a very talented painter. When he came to New York he started collecting these found objects, finding trash objects and buying some. He started transforming them so they became inhabited by stories. […] Because he's not very good at speaking English, I thought the best way to make a portrait of Byun - because I was very much attracted to his objects - was animation. He's the center of all of this family of objects, the king of the kingdom." -Marie Losier, in Joel Schlemowitz, "A Playground for Filmmaking: Interview with Marie Losier" Shana Moulton Selections from WHISPERING PINES (2012, 15 min, digital) "Among the common tropes of the New Age healing narrative is that the self must be dismembered before it can be made whole. Visualization and channeling, aromatherapy and crystals are aids to that labor of self-excavation. Moulton's deft use of the video medium has often been used to portray such experience - to make graphically manifest the metaphysics of feeling-good. […] Cultural techniques of healing and spirit switch from tchotchkes to touch screens, from pink sand to pixels. Both image and self are composed of many layers and the astral plane coincides with the digital picture plane." -Faith Holland & Seth Watter, "From Picture Plane to Astral Plane: Shana Moulton's WHISPERING PINES" Total running time: ca. 75 min.

    New York, New York: Millennium Film Journal
    7:30pm, Anthology Film Archives
    Millennium Film Journal No. 70 Launch Screening
    The Millennium Film Journal is celebrating the launch of its Fall 2019 issue (no. 70, "Body Memory") with a launch screening at Anthology Film Archives, November 20th at 7:30pm. The program includes the following work: New Red Order, CULTURE CAPTURE: TERMINAL ADDITION (2019, 7 min, digital), Alexandre Larose BROUILLARD #14 (2012, 10 min, 35mm), Ardele Lister SUGAR DADDY (1980, 30 min, digital), Marie Losier BYUN, OBJET TROUVÉ (2012, 7 min, digital), Shana Moulton Selections from WHISPERING PINES (2012, 15 min, digital). Ardele Lister will be present at the screening for a Q&A.

    Thursday, November 21, 2019
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    Los Angeles, California: Filmforum
    5:30 pm, TCL Chinese Theatre
    http://fest.afi.com Present. Perfect.
    Filmforum co-hosts the following at AFI Fest, http://fest.afi.com Present. Perfect. (WAN MEI XIAN ZAI SHI) By Shengze Zhu USA, Hong Kong, 2019, Feature Documentary, 124 min. Screening Wednesday, November 20 @ 3:30 pm, Chinese 2 Thursday, November 21 @ 5:30 pm, Chinese 2 https://fest.afi.com/2019/short-films-2019/present-perfect-wan-mei-xian-zai-shi Winner of the Tiger Award at the 2019 Rotterdam Film Festival, PRESENT.PERFECT. is a poetic demonstration of the need to seek out or create global communities and the shrouded threat that doing so poses to state control. Zhu Shengze’s found-footage documentary compiles live streaming footage from over 800 hours of material. Its hosts are those with disabilities, the marginalized and the working-class, who poetically demonstrate the need to seek out or create global communities and the threat this poses to state control. An immersive depiction of the proliferation of self-documentation in China before its suppression by the country’s 2017 Cybersecurity Law, Zhu Shengze’s enthralling found-footage documentary compiles live streaming footage assembled from over 800 hours of material. By enabling individuals — many of whom are disabled, marginalized or from the working class — to candidly engage with viewers and also generate revenue, live streaming not only provides a meager supplemental income, but also a vital source of connection to those who are particularly vulnerable and live in relative isolation and obscurity. Shengze Zhu is a documentary filmmaker and producer. She co-founded Burn The Film with Zhengfan Yang, her collaborator since 2012. Her directorial debut OUT OF FOCUS (2014) premiered at Cinéma du Réel; her second film ANOTHER YEAR (2016) received the Best Film Award at Visions du Réel, Grand Prize at RIDM Montreal Int’l Documentary Festival, Critic’s Award at Olhar de Cinema (Brazil), and was honored as “Top 10 Films of the Year” in 2016 by 24 Images. Her third film PRESENT.PERFECT. received the Tiger Award at the International Film Festival Rotterdam.

    Montrèal: VISIONS
    19 H, Cinéma Moderne, 5150 St Laurent Blvd
    VISIONS: COLECTIVO LOS INGRÁVIDOS | 21 + 22.11.19
    VISIONS : COLECTIVO LOS INGRÁVIDOS / First Program 21.11.19 | 19h | Cinéma moderne | 69 minutes VISIONS : COLECTIVO LOS INGRÁVIDOS / Second Program 22.11.19 | 19h | Cinéma moderne | 61 minutes En présence de la cinéaste | Filmmaker Present | ​Projection HD

    Portland: Nine Gallery
    12-5, 3727 NE 11th Avenue
    Cod Holy Water
    a video installation by Vanessa Renwick dedicated to those migrating in aspiration as well as desperation November 7–December 1, 2019

    San Francisco: Kadist
    6p, SFAI—Chestnut Street Campus, 800 Chestnut St
    Miguel Calderón: On George Kuchar and Tropical Vultures
    Miguel Calderón, On George Kuchar and Tropical Vultures with Julio Morales, presented in collaboration with and at San Francisco Art Institute (SFAI), Thursday, November 21, 6–8pm. Ten years ago, underground film legend George Kuchar and his then-student, Miguel Calderón, took a working vacation to Acapulco, Mexico where they made two extraordinary films. On the anniversary of their collaboration, Calderón reflects on both of these films, followed by a conversation with Julio Morales. They present a never-before-seen interview with Kuchar and the details of an unreleased book on his life and work.

    Friday, November 22, 2019
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    Los Angeles, California: Filmforum
    7:30 pm, Downtown Independent, 251 S Main Street,
    My First Film, A Live Cinema Presentation by Zia Anger
    MEMORY, Los Angeles Filmforum, and Cinema Guild present My First Film, A Live Cinema Presentation by Zia Anger. The international tour of Zia Anger’s MY FIRST FILM concludes on Friday November 22 in Los Angeles. In this expanded cinema performance the artist attempts to recount the stories behind her lost and abandoned work - including her first feature. From Zia Anger, “Last year I Googled myself. I found my IMDB page, which listed my first attempt at a feature film as still being in “post-production.” In the interest of mitigating the risk of any potential financiers coming along and seeing that I had a film from 2012 still unfinished I emailed IMDB to ask if they could remove the listing. It had been automatically added when I used Withoutabox to apply to festivals and without proper release, the entry sat in limbo. I never heard back, and a month later I checked my page again, and was surprised to learn that instead of removing the listing, they had labeled it ‘abandoned' in red italic letters. “My First Film” explores this “abandoned” mythos - from expired Instagram stories, to the nearly-finished feature I made in grad school. It erases the line drawn between a filmmaker's body and body of work. Lasting roughly 75 minutes, MY FIRST FILM reimagines the relationship between the audience, the filmmaker, the movie theatre, and the cinematic narrative, as I weave a narrative using real-time text, spontaneous Google searches, audience directives and AirDrops.” INFO: http://memory.is/my-first-film , www.lafilmforum.org , https://downtownindependent.com/ TICKETS: $18 General Admission, $10 LA Filmforum Members, $10 Students (with ID). Available in advance at https://www.brownpapertickets.com/event/4437070 Or at the door Trailer: https://memory.is/my-first-film/trailer

    Saturday, November 23, 2019
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    San Francisco: Other Cinema
    8:30, 992 Valencia Street
    PSYCHO-GEO 3: TALES FROM SOUTHERN MEXICO
    NOV.23: DISPATCHES FROM ATZLAN: CHARLES FAIRBANKS + CAITLIN MANNING + For our annual No-Thanks Giving gathering, we host Charles Fairbanks and Caitlin Manning, both filmmaker expats coming up from separate towns in Southern Mexico. Charles shares the West Coast premiere of The Modern Jungle, his hour-long collaboration with Saul Kak--a visual artist from a Zoque village--on a lush but critical allegory of globalization, as filtered though the fever-dream of a Mexican shaman. Ex-Mission sister Caitlin circles back to San Fran with Resistance, Autonomy, and Women’s Rights in Chiapas, on the community craftwork of A.G. Lopez. Oaxacan visionary Bruno Varela is also represented with another of his exquisite experimental essays. AND North-of-the-border Native (now NY-based) Adam Khalil sends in the debut of Cultural Capture: Terminal Addition, on cultural appropriation and the white-washing of indigenous history. Food and drink from the region will be on hand in a festive reception for our much-missed comrades!

    Sunday, November 24, 2019
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    Harrisburg, PA United States: Midtown Cinema
    7:00 PM, 250 Reily St
    I, Apostate - Documentary Film Screening w/ Jeremy Moss
    I, Apostate. A Feature Film by Jeremy Moss In Person Screening with Post Film Q&A Trailer - https://vimeo.com/272676238 A fantasia of post-indoctrination, immigration, and iconography. A pageant of wanderers and searchers: Mormon missionaries, a pioneer, polygamists, scouts, hunters, church-goers, and an aspiring prophet walk and walk and walk. A pilgrimage of memory, history, ancestry, and place. An experimental documentary that interrogates and explores the seeds of the filmmaker’s own religious indoctrination and eventual apostasy. He revisits the European landscapes where his ancestors were converted to Mormonism in the 1800s. He examines the desert places they colonized in the American West. He returns to Brazil and interviews individuals he had converted to the faith twenty years ago. Part diary film and part surrealist essay, the film deals with the experience of conversion and indoctrination, the pain of apostasy, and the discomfort and contentment from never fully breaking free.


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