This week [January 13 - 20, 2019] in avant garde cinema

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

To receive the weekly listing via email: Subscribe

View other dates - select here! Display calendar events for any dates you specify.

Events are sorted alphabetically BY CITY within each DATE .
This page is updated every Sunday.
  • Sunday, January 13, 2019
  • Monday, January 14, 2019
  • Tuesday, January 15, 2019
  • Wednesday, January 16, 2019
  • Thursday, January 17, 2019
  • Friday, January 18, 2019
  • Saturday, January 19, 2019
  • Sunday, January 20, 2019
  • This week's programs (summary):

    Sunday, January 13, 2019

    Berkeley, CA United States: Pacific Film Archive
    4:00 PM, 2155 Center St
    Hall of Mirrors: Four Films by Warren Sonbert
    Warren Sonbert (1947–1995) was one of the seminal figures working in American experimental film before his premature death from complications relating to AIDS. Hall of Mirrors (1966), made while Sonbert was a student at New York University, is a triptych in which each part rhymes beautifully with the whole; it features cameos by Warhol superstars Rene Ricard and Gerard Malanga. Divided Loyalties (1978), The Cup and the Lip (1986), and Short Fuse (1992) use footage from Sonbert’s globetrotting life and demonstrate his expertise as a cinematographer and editor. The filmmaker’s love of the arts, music, poetry, and science and the natural world, as well as his friendships and civic engagement, are all unmistakable in the emotional tenor of his work. Our presentation will include remembrances by Sonbert’s friends and former students in addition to audio clips from the BAMPFA collection.

    New York, NY: Anthology Film Archives
    4:30 PM, 32 Second Avenue
    Boris Kaufman LES HALLES CENTRALES (1927, 22 min, 35mm. Restored print courtesy of CNC - Direction du patrimoine.) Andor von Barsy HIGH STREET / HOOGSTRAAT (1929, 12 min, 35mm, silent. Print courtesy of EYE Filmmuseum.) Friedrich Kuplent PRATER (1929, 14 min, 35mm, silent. Restored print courtesy of the Austrian Film Museum.) Eugène Deslaw MONTPARNASSE, POÈME DU CAFÉ CRÈME (1930, 15 min, 35mm, silent. Restored print courtesy of CNC - Direction du patrimoine.) Total running time: ca. 70 min.

    New York, NY: Anthology Film Archives
    6:30 PM, 32 Second Avenue
    Jay Leyda A BRONX MORNING (1931, 11 min, 16mm. Preserved by The Museum of Modern Art with support from the National Endowment for the Arts and The Film Foundation.) Jan Teunissen BARREL ORGAN / PIEREMENT (1931, 11 min, 35mm, silent. Print courtesy of EYE Filmmuseum.) Jan Koelinga THE ALLEY / DE STEEG (1932, 12 min, 35mm, silent. Print courtesy of EYE Filmmuseum.) Conrad Friberg HALSTED STREET (1934, 11 min, 16mm, silent) Paul Schuitema DE MAASBRUGGEN (1937, 14 min, 35mm. Print courtesy of EYE Filmmuseum.) Total running time: ca. 65 min.

    New York, NY: Anthology Film Archives
    8:30 PM, 32 Second Avenue
    Paul Strand MANHATTA (1921, 9 min, 35mm, silent. Restored in 2008 by Anthology Film Archives, British Film Institute, The Library of Congress, The Museum of Modern Art, National Gallery of Art, and EYE Filmmuseum.) Robert Flaherty TWENTY-FOUR DOLLAR ISLAND (1927, 15 min, 35mm. Print courtesy of EYE Filmmuseum.) Robert Florey SKYSCRAPER SYMPHONY (1929, 10 min, 35mm, silent. From the collection of the George Eastman Museum.) D.A. Pennebaker DAYBREAK EXPRESS (1953, 5 min, 16mm-to-35mm) Francis Thompson NY, NY (1957, 15 min, 16mm. Preserved by Anthology Film Archives; special thanks to Cineric, Inc. and Trackwise.) Tomonari Nishikawa MANHATTAN ONE TWO THREE FOUR (2014, 2.5 min, Super-8mm, silent) Total running time: ca. 60 min.

    Oakland, CA United States: Shapeshifters Cinema
    7:30 PM, 511 48th St
    Thomas Carnacki with Jerry Smith and Loren Murphy
    Thomas Carnacki is the name under which Bay Area-based musician, filmmaker, and sound-designer Gregory Scharpen concocts, records, and performs (frequently with a core of like-minded co-conspirators) with an emphasis on texture, atmosphere, and subtle unease. This iteration of Carnacki will include: Jesse Burson, Gregory Hagan, and Cheryl E. Leonard. Frequent Carnacki collaborators Jerry Smith and Lorin Murphy will be combining their projection/video-art efforts in an attempt to create a permeable membrane between the sonic and the visual realms--an immersive environment where it becomes unclear which element of the aggregate is perpetrating which effect. Admission is free but donations are greatly appreciated.

    Monday, January 14, 2019

    New York, NY: Anthology Film Archives
    7:00 PM, 32 Second Avenue
    by J. Leitão de Barros. Courtesy of the Cinemateca Portuguesa. J. Leitão de Barros's first feature film is a truly remarkable work, fusing a wide range of aesthetic influences and artistic traditions, namely the European cinematographic avant-gardes (it is consciously within the lineage of the "city symphony" genre), but also journalistic reportage or vaudeville theatre. LISBOA is a unique portrait of the cultural atmosphere of 1920s Lisbon, combining documentary sequences and staged episodes that feature over forty actors and actresses, including some of the leading names in Portuguese theater history, such as Chaby Pinheiro, Vasco Santana, Nascimento Fernandes, Estevão Amarante, Erico Braga, Berta Bivar, Augusto de Melo, Alves da Cunha, and many others.

    Tuesday, January 15, 2019

    New York, NY: Anthology Film Archives
    7:00 PM, 32 Second Avenue
    Aki Sasamoto & Liz Magic Laser in person."The Audience is Tested" is grounded by the idea that cinema itself is a test, a controlled environment for delivering stimuli to viewers. The audience, both those present in the theater, and the ideaof an audience, is the subject of this screening. This opening program considers the act of presentation and the moment of reception - it implicates the audience, engages with direct address, plays with the authoritative voice, and explores the canned liveness of cinema. This screening is about you. Aki Sasamoto performance (2018, 15 min) Fritz Heider & Marianne Simmel AN EXPERIMENTAL STUDY OF APPARENT BEHAVIOR (1943, 3.5 min, 16mm) Owen Land NEW IMPROVED INSTITUTIONAL QUALITY (1976, 10 min, 16mm) Liz Magic Laser THE THOUGHT LEADER (2015, 9.5 min, digital) Laure Prouvost IT, HEAT, HIT (2010, 6 min, digital) Vanessa Renwick YAWN (1998, 2 min, digital) Jim Trainor THE PRESENTATION THEME (2008, 14 min, 16mm) Lucy Raven RP31 (2011, 5 min, 35mm) Total running time: ca. 70 min.

    New York, NY: Anthology Film Archives
    7:15 PM, 32 Second Avenue
    Jean Vigo A PROPOS DE NICE (1929-30, 30 min, 35mm-to-digital) Helen Levitt, Janice Loeb, and James Agee IN THE STREET (1952, 12 min, 16mm, b&w. Preserved by Anthology Film Archives.) Sara Gómez I'LL GO TO SANTIAGO / IRÉ A SANTIAGO (1964, 15 min, 16mm-to-digital) Total running time: ca. 60 min.

    New York, NY: Anthology Film Archives
    9:00 PM, 32 Second Avenue
    by Karl Freund, Carl Mayer & Walter Ruttmann. (BERLIN, DIE SYMPHONIE DER GROSSTADT) Print courtesy of the UCLA Film & Television Archive. Ruttmann and company's seminal, groundbreaking film is a valentine to the "new" Berlin of the late 1920s. Beginning at dawn and ending after midnight, it shows Berliners hard at work by day and possessed by the city's thriving nightlife. Essentially a feature-length montage, the film was heavily influenced by Soviet documentary experiments like Dziga Vertov's KINO-PRAVDA and was itself very influential in fostering the "city symphony" genre and other documentary hybrid styles to come. Preceded by: László Moholy-Nagy BERLIN STILL LIFE / BERLINER STILLEBEN (1926, 8 min, 16mm)

    Wednesday, January 16, 2019

    New York, NY: Anthology Film Archives
    7:30 PM, 32 Second Avenue
    by Dziga Vertov. (CHELOVEK S KINO-APPARATOM) ESSENTIAL CINEMA SCREENING - FREE FOR MEMBERS! "If Vertov had never made anything other than MAN WITH A MOVIE CAMERA he would still be among the cinema's greatest masters. A kaleidoscopic city symphony - conjoining Moscow, Kiev, and Odessa in one dizzying metropolis - this is Vertov's most complex film, matching the rhythms of a day to the cycle of life (birth, death, marriage, divorce) and the mechanisms of movie-making to the logic of production. Made without titles, the movie is at once a documentary portrait of the Soviet people, a reflexive essay on cinematic representation (as dazzling as it is didactic), and an ode to work itself as a process of transformation." -J. Hoberman, VILLAGE VOICE

    San Francisco, CA United States: Canyon Cinema
    7:00 PM, Roxie Theater, 3117 16th St
    Naomi Uman's Mala Leche and Unnamed Film
    Unnamed Film (2008) 55 minutes Mala Leche (1998) 47 minutes Both films in 16mm Co-presented by Canyon Cinema Foundation Each of these films by Naomi Uman are more typically presented together with other works from her oeuvre. Mala Leche is often paired with her thesis film, Leche, which preceded it. Unnamed Film is one of the longer pieces in Umans Ukrainian Time Machine cycle. Viewed together these two films function as community portraits, woven around stories of immigration. Daily life, work and play, of both a small agricultural town in Californias Central valley, and a rural village in the Ukraine are portrayed though an interplay of image, sound and text. Mala Leche was made in Pixley, California, when Uman was living with the extended family of the ranchers of Central Mexico, featured in Leche. Unnamed Film was made in Legdzine, Ukraine, during a time when the filmmaker returned to live in the village her Jewish ancestors had left more than a hundred years prior, escaping persecution. Born and raised in New York City, Naomi Uman is a filmmaker, visual artist, farmer and adventurer. She works alone, often accompanied by a small dog, exploring the worlds of others and her own. The treasures found on these expeditions are manifest in small films, paintings, handmade clothing, home harvested and cooked meals and now, her first video project.

    Thursday, January 17, 2019

    Atlanta, Georgia: High Museum of Art
    7:00 pm, Hill Auditorium, High Museum of Art, 1280 Peachtree St NE
    Film Love at the High: The Cinema of Joseph Cornell
    After sixteen years and over 150 unique programs, the Film Love series is being honored by Atlantas High Museum of Art with a spring 2019 retrospective. The retrospective programs will be curated by Film Love founder Andy Ditzler, and will feature audience favorites and rediscovered gems from the series long history. The retrospective begins on Thursday, January 17, with one of Film Loves most popular shows: the cinema of Joseph Cornell. One of the twentieth centurys best-known artists, Joseph Cornell created surreal shadow box sculptures and collages of extraordinary appeal and complexity. Less known is that Cornell is equally influential as a filmmaker. His body of films constitutes a cinema entirely its own like his other art, mysterious and playful in equal measure. Film Loves first show at the High Museum of Art will feature Cornells rarely screened work, presented mostly in 16mm prints, the medium in which he worked. Cotillion, The Midnight Party, The Childrens Party (Lawrence Jordan and Joseph Cornell, 1940s/1968), 16mm, 25 min. Rose Hobart (Joseph Cornell, 1936), 16mm converted to digital, 20 min. The Aviary (Joseph Cornell and Rudolph Burckhardt, ca. 1954), 16mm, 5 min. Nymphlight (Joseph Cornell and Rudolph Burckhardt, ca. 1957), 16mm, 7 min. A Fable for Fountains (Joseph Cornell and Rudolph Burckhardt, ca. 1954), 16mm, 6 min. Angel (Joseph Cornell and Rudolph Burckhardt, ca. 1957), 16mm, 3 min. Centuries of June (Joseph Cornell and Stan Brakhage, 1955), 16mm, 10 min

    Friday, January 18, 2019

    Los Angeles, California: Filmforum
    8:00 pm, Echo Park Film Center, 1200 N. Alvarado St., Los Angeles
    And Magics: The Films of Josh B Mabe, and His Chicago Favorites
    Los Angeles and US premieres, with Josh B Mabe in person! Renowned Chicago-based filmmaker and programmer Josh B Mabe presents a selection of his films and videos made over the past decade as well as a selection of his favorite work from other Chicago-based artists. Mabes films have screened at the New York Film Festival, Images Film Festival, Ann Arbor Film Festival, and the Jihlava International Documentary Film Festival. He has programmed work in Chicago at Gallery 400, Links Hall, The Nightingale, University of Chicago, and the Chicago Underground Film Festival. He was formerly Program Director of Chicago Filmmakers and Programmer for the Onion City Experimental Film and Video Festival (you can see him at work in episode 2 of the Netflix show Easy). Tickets: $10 general; $6 for students/seniors; free for Filmforum members. Available in advance from Brown Paper Tickets at or at the door.

    Saturday, January 19, 2019

    Santa Monica, CA 90404: Drone Cinema Film Festival
    8:30pm, Highways Performance Space, 1651 18th St @18th Street Art Center
    Drone Cinema Film Festival
    The Drone Cinema Film Festival: Selected Works - Los Angeles ...Eight short films of mesmerizing, slow, hypnotic, cinematic tapestries woven from drones of light and sound... Date: Saturday January 19th 2019... Venue: Highways Performance Space... Telephone: (310) 453-2018... Address: 1651 18th St @ 18th Street Art Center (1/2 block north of Olympic Blvd) Santa Monica, CA 90404... Transportation: Metro Expo Line 17th St/SMC Station. R7 Bus - Pico WB & 18th NS (SMC)... Start time: 8:30 PM... Admission: $10... Tickets may be purchased online at Opening drone music performance: Randy Greif... Films: Mike Rooke - Return to Source Kat Cascone - LuxLuna Sequencial - Haumea Kris Force - Transmigration Don Haugen - The Black it Moves Between Them Robin Parmar - Division by Zero Michal Seta - [*]nScape Stewart Collinson & Andrea Szigetvari - Transitus Siderum... Curated by Kim Cascone

    Sunday, January 20, 2019

    Los Angeles, California: Filmforum
    7:30 pm, Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd.
    The Films of Baum & Lo and Orphan Films from the Center Cinema Co-op
    Los Angeles premieres, with Thomas Baum and Josh B Mabe in person! In 1968 Tom Palazzolo, Ron Nameth, Jeff Begun, and Larry Janiak founded the Center Cinema Co-op in Chicago, IL to distribute artist films and promote independent filmmaking throughout the Midwest. Its history overlaps with so many other Chicago institutions and notables. The co-op grew from connections with Second City and the legendary Aardvark Theater. Barbara Scharres, Director of Programming at the Siskel Film Center, ran the co-op for many years. The list of members includes the founders of basically every important film institution in Chicago. In 1978 the co-op closed and the films that could not be returned to the filmmakers themselves ended up in various offices and back rooms. In 2015, while working as Program Director of Chicago Filmmakers, Josh B Mabe found a stash of those left-behind films and became enamored with the collection, which had happily survived many years in a storage room of that invaluable institution. He put together one free screening of the material, and tried in vain to locate any of the filmmakers represented. Years later, by one of those weird accidents of the internet-age, he located Thomas Baum, co-director of the 3 of the films in that served as the heart of that screening. Baums films, co-directed with Dennis Lo, were singled out as the highlights by the critics who had covered the screening. Baum & Lo made these 3 films in their 20s in New York City while working in the ad department at NBC. The other films in this program contain similar mysteries that hopefully will end as happily. Some of the filmmakers have been found and their families reached out to. Richard Greenberg went on to a massively successful career as a credits and title designer. His film in this screening is an early bright and melodic animation. Tickets: $10 general; $6 for students/seniors; free for Filmforum members. Available in advance from Brown Paper Tickets at or at the door. For more information: or 323-377-7238.

    New York, NY: Anthology Film Archives
    8:30 PM, 32 Second Avenue
    Svatopluk Innemann PRAGUE BY NIGHT / PRAHA V ZÁŘI SVĚTEL (1928, 22 min, 35mm-to-DCP, silent. Courtesy of the National Film Archive, Prague.) Eugène Deslaw LES NUIT ÉLECTRIQUES (1930, 13 min, 35mm. Restored print courtesy of CNC - Direction du patrimoine.) Ian Hugo JAZZ OF LIGHTS (1954, 16 min, 16mm) William Klein BROADWAY BY LIGHT (1958, 12 min, 35mm. Print courtesy of the Walker Art Center.) Rudolph Burckhardt SQUARE TIMES (1967, 6.5 min, 16mm) Total running time: ca. 75 min.

    Let us know about your alternative film/video event!

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

    To receive the weekly listing via email, send a message to Subscribe