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This week [June 9 - 16, 2019] in avant garde cinema

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This page is updated every Sunday.
  • Sunday, June 9, 2019
  • Monday, June 10, 2019
  • Tuesday, June 11, 2019
  • Wednesday, June 12, 2019
  • Thursday, June 13, 2019
  • Saturday, June 15, 2019
  • Sunday, June 16, 2019
  • This week's programs (summary):

    Sunday, June 9, 2019
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    New York, NY: Anthology Film Archives
    1:00 PM, 32 Second Avenue
    MONO NO AWARE COMMUNITY SCREENING PROGRAMS
    Featuring the world premiere of 40 films made locally with the support of MONO in April and May 2019. These programs will include films made through the educational initiatives of MONO NO AWARE, a cinema-arts nonprofit organization and film positive community working to promote connectivity through the cinematic experience. Established in 2007 and based in downtown Brooklyn, MONO NO AWARE presents monthly artist-in-person screenings, facilitates equipment rentals, operates a film distribution initiative, maintains wet & dry lab facilities, and hosts an annual exhibition for contemporary artists and international filmmakers whose work incorporates Super-8mm, 16mm, 35mm, or altered light projections as part of a live performance or installation. For more info visit: www.mononoawarefilm.com

    New York, NY: Anthology Film Archives
    5:30 PM, 32 Second Avenue
    THE FILMS OF WILLIAM RABAN, PGM 6
    72-82 (2014, 60 min, DCP) Using archival film, printed matter, letters, and recent oral testimony, Raban reconstructs the first ten years of the London arts organization, Acme. As an Acme house tenant, an exhibiting artist at Acme gallery, and a documenter of events, Raban tells the story of an intensely creative scene in which he played a significant part. "Though 72-82 appears to follow the template of so many historical documentaries, relying on archival footage and talking heads, it's both a stellar example of the form and in a key sense far more thoughtfully and rigorously constructed than most. Thanks to an image track composed entirely of archival material (moving image footage as well as photographs, audio recordings, exhibition posters, brochures, and more), with not a shred of banal, contemporary connective tissue, 72-82 is more of an historical collage than a Ken Burns-like illustrated lecture. And, as signaled by the film's subtitle, 'Fallibility of Memory?,' Raban subtly reconfigures the documentary format to emphasize the process by which history is not revealed but rather constructed, even by direct participants." -Jared Rapfogel, CINEASTE MAGAZINE

    New York, NY: Anthology Film Archives
    7:30 PM, 32 Second Avenue
    THE FILMS OF WILLIAM RABAN, PGM 7
    THE HOUSELESS SHADOW (2011, 19 min, digital) Commissioned by the Museum of London, this film explores the continuities between London's nocturnal life as it is now and as it was observed 150 years ago. The essay "Night Walks" (1859) by Charles Dickens gives voice to the film. TIME AND THE WAVE (2013, 15 min, digital) TIME AND THE WAVE exposes the condition of Britain in the crisis of late capitalism by focusing on key London events filmed in 2012 and 2013: the opening of Westfield Shopping Centre at Stratford, the Saint Paul's Occupy movement, the Queen's Jubilee Thames pageant, and the funeral of Margaret Thatcher. AVAILABLE LIGHT (2016, 9 min, digital) The complexity of the screen experience belies the apparent simplicity of the time-lapse compression of a reading of an 858-page classic text into just a 9-minute duration. The book could only be read/filmed during the hours of sufficient winter daylight. Some pages took longer than others to read and throughout the hours of filming regular breaks had to be taken because the studio was exceptionally cold. In these ways, the filmmaker's agency impinged on an otherwise controlled mechanical system. David Cunningham's minimalist soundtrack treads a similar fine balance between simplicity and complexity to offset and complement the picture. LONDON REPUBLIC (2016, 2 min, digital) Made two months in advance of the referendum to decide whether the UK should remain within or leave the European Union, LONDON REPUBLIC speculates on the outcome of the vote. This is a satirical fairytale - a political provocation that invites the audience to guess the outcome of the referendum to decide London's fate. LAKAKIGAR (working title) (2019, 25 min, digital) With the threat of nuclear conflict between North Korea and America comes the realization that the blast effects of a nuclear strike would be outweighed by the potentially irreparable damage to the Earth's atmosphere. In 1783 the Laki volcanic eruption, and the resulting haze that covered vast swathes of the northern hemisphere, caused widespread crop failures and consequent starvation across Europe, parts of America, North Africa, and India. Raban's new film connects this ecological theme with the current political crisis in Europe and America. Total running time: ca. 75 min.

    San Francisco, CA United States: Crossroads
    12:30 PM, 151 3rd St.
    Crossroads 10, program 7: the end and the beginning…
    CROSSROADS 10 - Program 7 the end and the beginning were always there full program details and ticket information (including festival day passes) here: bit.ly/2VLhsdk presented by San Francisco Cinematheque and San Francisco Museum of Modern Art with community partner Canyon Cinema Foundation ANTICIPATED ARTISTS IN PERSON: Vasilios Papaioannu and Charlotte Pryce PICTURED ABOVE: Pwdre Ser the rot of stars (2019) by Charlotte Pryce This program is dedicated to the memory of filmmakers Jonathan Schwartz (1973–2018) and Robert Todd (1963–2018). Memorials to departed friends. Life is in the light; we pass through it, unevenly, but beautifully. Lines of force, spanning generations; the garden seems unchanged. Speculative science and speculative magic. Where are you, systems of planets? Thank you for your presence in this life. SCREENING: A LEAF IS THE SEA IS A THEATRE (2018) by Jonathan Schwartz (US); digital video, color, sound, 17 minutes, print from Canyon Cinema, bay area premiere — A meditation on endings inspired by Emily Dickinson. (Steve Polta) LIGHTFALL (2016) by Robert Todd (US); digital video, color, sound, 16 minutes, exhibition file from Canyon Cinema, bay area premiere — Glorious idealizations of reality: the fall of light onto our world as it crashes into the spectacular forms and formulas of ending. A series of in-camera harmonies. (Robert Todd) LIGHT LICKS: PARDES: COUNTING FLOWERS ON THE WALL (2018) by Saul Levine (US); 16mm, color, silent, 13 minutes, print from the maker, bay area premiere — A luminous and elegiac nature study by a master filmmaker. (Steve Polta) LINES OF FORCE (2018) by Dan Browne (Canada); digital video, color, silent, 2 minutes, exhibition file from the maker, U.S. premiere — In its purest form, energy is light. Perhaps matter cannot go faster than light because all matter consists of light. (Dan Browne) TWO (2018) by Vasilios Papaioannu (US); digital video, color, sound, 8 minutes, exhibition file from the maker, bay area premiere — Two filmmakers set out to create an audio archive for possible use in future projects. […] In this archive of sound and image, love is a series of moments made sacred by the present. (Vasilios Papaioannu) GATHERING MOSS (2018) by Erin Espelie (USA); digital video, color, silent, 5 minutes, exhibition file from the maker, U.S. premiere — In homage to films of the 1920s by F. Percy Smith, GATHERING MOSS considers the brevity of wildlife encounters, often mediated, obstructed, or contextualized by anthropogenic locations, such as Three Mile Island in Pennsylvania. (Erin Espelie) PWDRE SER THE ROT OF STARS (2018) by Charlotte Pryce (UK/US); digital video, color, sound, 7 minutes, exhibition file from the maker, bay area premiere — Inspired equally by medieval accounts of visionary experiences and by 19th-century photography of the invisible, PWDRE SER joins Kirlian photography with hand-processed images. The film depicts an encounter with a mysterious, luminous, electrical substance. (Charlotte Pryce)

    San Francisco, CA United States: Crossroads
    2:45 PM, 151 3rd St.
    Crossroads 10, program 8: a friend becomes like a ghost
    CROSSROADS 10 - Program 8 a friend becomes like a ghost full program details and ticket information (including festival day passes) here: bit.ly/2GltpB2 presented by San Francisco Cinematheque and San Francisco Museum of Modern Art ANTICIPATED ARTISTS IN PERSON: Anna Kipervasser, Cherlyn Hsing-Hsin Liu and Rajee Samarasinghe PICTURED ABOVE: Transcript (2018) by Erica Sheu Reflective films on origins and endings, on lifespan, on intergenerational dialog and communication with past and future selves. Patient enactments of transmutation. Tender animations of the inanimate. A blurred face, a distant memory, a circling back to a beginning. Inner states superimposed on the world and a universe filled with every day with stars. How long has it been since we have not seen each other? SCREENING: SONG X (2017) by Pathompon Mont Tesperateep (Thailand); digital video, b&w, sound, 20 minutes, exhibition file from the maker, U.S. premiere — A military deserter awakes to discover that his body is laying lifelessly on the ground. He embarks on this new journey where he encounters a group of teenagers who intend to give him a cremation ceremony. At the same time, his body is being searched by a military patrol. (Pathompon Mont Tesperateep) WHEN IT IS STILL (2018) by Anna Kipervaser (Ukraine/US); 16mm, color, silent, 10 minutes, print from the maker, world premiere — An enactment of transmutation, of the animation of the previously inanimate, the dead, the unborn. A rebirth of the self. (Anna Kipervaser) EVERYDAY STAR (2018) by Rajee Samarasinghe (Sri Lanka/US); digital video, color, silent, 9 minutes, exhibition file from the maker, bay area premiere — Everyday states of being and decay are observed through the infinite scope of the cosmos and the restorative light which emanates from it, driving cinematic and photographic impulses. (Rajee Samarasinghe) TRANSCRIPT (2018) by Erica Sheu (Taiwan/US); 35mm screened as digital video, color, silent, 3 minutes, exhibition file from the maker, bay area premiere — Flowering baby's breath, love letters my father wrote, and sun print papers my lover gave me. Inspired by SHADOW FILM: A WOMAN WITH TWO HEADS (1977) by Shuji Terayama. (Erica Sheu) AFTER DECARAVA (2018) by Paige Taul (US); digital video, b&w, silent, 2 minutes, exhibition file from the maker, world premiere — A tender approach to filmic abstraction mirroring the care evidenced in Roy DeCarava’s photograph "Face out of focus" (c. 1960). (Paige Taul) HOW OLD ARE YOU? HOW OLD WERE YOU? (2017) by Cherlyn Hsing-Hsin Liu (Taiwan/US); 16mm, color, sound, 16 minutes, print from the maker, bay area premiere — …fractures the logic of time to contemplate bringing oneself back to the origin, the womb. A dialogue between two selves: infant and adult. The film traverses a series of psychological events, transforming memories, emotions, thoughts, and imagination. (Cherlyn Hsing-Hsin Liu)

    San Francisco, CA United States: Crossroads
    4:45 PM, 151 3rd St.
    Crossroads 10, program 9: century plant in bloom
    CROSSROADS 10 - Program 9 century plant in bloom full program details and ticket information (including festival day passes) here: bit.ly/2Uj74rw presented by San Francisco Cinematheque and San Francisco Museum of Modern Art ANTICIPATED ARTISTS IN PERSON: Zachary Epcar, Salma Shamel, Syd Staiti and Eric Stewart PICTURED ABOVE: Helios (2018) by Eric Stewart Far-reaching and speculative video essays on digital archives, the 2011 Egyptian revolution and the visuality of contemporary surveillance cap a program on landscape, space and time in our technological and political moment. Considering magnetic desert ufology, exploring the lovely and lonely landscapes of local BART parking lots, and contemplating the aesthetics of Croatian military camouflage, these films ponder the place of humans in our mediated twenty-first century. Night vision cameras, binoculars, heat detectors and drones have their own ways of seeing the world. The landscape appears flat. The drone knows. There are 360 points in a circle. SCREENING: POINTS (2019) by Syd Staiti (US); digital video, color, sound, 8 minutes, exhibition file from the maker — There are 360 points in a circle. My father tells me his theory of how to make a UFO using magnetism. The desert points without and within. (Syd Staiti) LIFE AFTER LOVE (2018) by Zachary Epcar (US); digital video, color, sound, 8 minutes, exhibition file from the maker — A shifting in the light of the lot, where parked cars become containers for a collective estrangement. (Zachary Epcar) THE AIR OF THE EARTH IN YOUR LUNGS (2018) by Ross Meckfessel (US); 16mm, color, sound, 11 minutes, print from the maker — Drones and GoPros survey the land while users roam digital forests, oceans, and lakes. Those clouds look compressed. That tree looks pixelated. A landscape film for the 21st century. (Ross Meckfessel) HELIOS (2018) by Eric Stewart (US); 16mm, color, sound, 6 minutes, print from the maker — Time-lapses of cacti and succulent over the course of a year. Environmental data drives the tone and filtration of the sounds while the rising and setting of the sun illuminates plant growth in and out phase with each each other. (Eric Stewart) THOSE THAT TREMBLE AS IF THEY WERE MAD (2018) by Salma Shamel (Egypt/US); digital video, color, sound, 12 minutes, exhibition file from the maker, world premiere — A committee was formed by the Egyptian government in the wake of the 2011 revolution to assemble an archive of the recent past. After a series of unfortunate events, the committee was dissolved. THOSE THAT TREMBLE AS IF THEY WERE MAD is a story of failure and relief, a story told through an ephemera of empty certificates, unsigned contracts, and uncelebrated witnesses. (Salma Shamel) WAYPOINT, FOLLOW, ORBIT, FOCUS, TRACK PAN (2017) by eteam (US); digital video, color, sound, 15 minutes, exhibition file from Video Data Bank, bay area premiere — Night vision cameras, binoculars, heat detectors, and drones have their own ways of seeing the world. WAYPOINT, FOLLOW, ORBIT, FOCUS, TRACK PAN tries to understand the mission of an unmanned aerial vehicle. How do drones perceive humans? What do drones mean for humanity? (eteam)

    San Francisco, CA United States: Crossroads
    7:00 PM, 151 3rd St.
    Crossroads 10, program 10: i've returned to see how strange…
    CROSSROADS 10 - Program 10 i've returned to see how strange it feels full program details and ticket information (including festival day passes) here: bit.ly/2Uk8KkC presented by San Francisco Cinematheque and San Francisco Museum of Modern Art ANTICIPATED ARTISTS IN PERSON: Ben Balcom and Scott Stark PICTURED ABOVE: Love and the Epiphanists (Part 1) (2018) by Scott Stark Love floats through Hollywood cinema like a flaming dirigible. — Scott Stark CROSSROADS 10 culminates with Scott Stark’s LOVE AND THE EPIPHANISTS—a sprawling quasi narrative sci-fi performance hybrid based on re-printed and re-purposed Hollywood film trailers. Throughout the program, explosions, eros and (of course) apocalypse abound as history unreels and and we fade to a marvelous view. Dig and search for the meaning of such unexpected life. SCREENING: ATOMIC GARDEN (2018) by Ana Vaz (Brazil); digital video, color, sound, 8 minutes, exhibition file from the maker, bay area premiere — A reflection on transmutation, survival, and the resilience of myriad life forms in the face of toxicity. A stroboscopic tale of survival and transmutation. (Ana Vaz) LOVE SEAT (2017) by Lyndsay Bloom (US); digital video, color, silent, 3 minutes, exhibition file from the maker, world premiere — An experimental film self-portrait considering love, loss, and the aborted. Utilizing a mechanized dolly, layered images suggest the multiplicity of one body. (Lyndsay Bloom) THE SEQUENCE OF YEARS (2018) by Ben Balcom (US); digital video, color, sound, 9 minutes, exhibition file from the maker, bay area premiere — A feeling of forgetting rendered with first-person camera work, lens play, and image stabilization. (Ben Balcom) FOUNTAINS OF PARIS (2018) by Stephen Broomer (Canada); digital video, color, sound, 9 minutes, exhibition file from the maker, bay area premiere — Paris, past and past and present. The fountains of Paris witness day passing into night, gatherings of children and workers and lovers. (Stephen Broomer) SATURNO (2019) by Colectivo Los ingrávidos (Mexico); digital video, color, sound, 4 minutes, exhibition file from the makers, world premiere — Colectivo Los ingrávidos emerges from the necessity to dismantle the audiovisual grammar and aesthetic of television and cinematic corporatism through which it achieves social and perceptual control over the population. (Colectivo Los ingrávidos) LOVE AND THE EPIPHANISTS (PART 1) (2018) by Scott Stark (US); multimedia performance, color, sound, 30 minutes, from the maker, bay area premiere —Live cinema performance including wide-screen slide projections, digital video, audio recordings, spoken text, and 35mm film projection, with footage sourced from altered and repurposed Hollywood movie trailers. An apocalyptic narrative of ‘the Epiphany.' (Scott Stark)

    Monday, June 10, 2019
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    Brooklyn, New York: Microscope Gallery
    7:30pm, 1329 Willoughby Ave
    Abigail Child: Silent Films (1977-79)
    Artist in Person! Microscope presents a rare screening of early films by Abigail Child, a fixture in New York’s avant-garde film and writing community since the 1980s with around 50 films completed to date. Child is perhaps most known as a formidable collagist of cutouts of images and sounds into densely edited moving image works often merging formal, feminist, and political concerns, while including artistic contributions of friends and collaborators such as poetry, music, and acting. Silent Films focuses on six early, silent works most of which have not been shown in nearly 30 years. All were made in San Francisco between 1977-79 prior to her move to New York City and represent her first filmic outburst as an independent filmmaker, following her work as a commercial documentary filmmaker. Program includes: "Some Exterior Presence", "Peripeteia I", "Peripeteia II", "Daylight Test Section", "Pacific Far East Line", and "Ornamentals". A Q&A with the artist follows the screening. Full program notes and additional info: www.microscopegallery.com. Tel: 347.925.1433, info@microscopegallery.com. Jefferson Street L (exit Starr St). Enter mid-block on Willoughby btw St. Nicholas & Wyckoff.

    New York, NY: Anthology Film Archives
    6:45 PM, 32 Second Avenue
    HOME MOVIES: STAN BRAKHAGE PROGRAM
    Few filmmakers have proven as devoted to chronicling the lives, experiences, and development of their families as Stan Brakhage - so much so that his second wife, Marilyn, extracted a promise that he would notfilm her and the children they raised together. Up until that point though, Brakhage made numerous films about his first wife Jane and their children, exploring in his radical, lyrical, and finely tuned manner the birth of two of the kids, and the domestic environment they would all share together. This program showcases some of these masterpieces of familial cinema, including a very rare screening of WINDOW SUITE OF CHILDREN'S SONGS, a collection of charming 8mm pieces shot by Stan and Jane's five children, with Brakhage intervening only to compile and arrange the discrete films. WEDLOCK HOUSE: AN INTERCOURSE (1959, 11 min, 16mm, silent) WINDOW WATER BABY MOVING (1959, 12 min, 16mm. Preserved by Anthology Film Archives.) AN AVANT-GARDE HOME MOVIE (1961, 4 min, 16mm) THIGH LINE LYRE TRIANGULAR (1961, 9 min, 16mm, silent) WINDOW SUITE OF CHILDREN'S SONGS (1969, 20.5 min, 8mm, silent) SEXUAL MEDITATION: OPEN FIELD (1972, 8 min, 16mm, silent) HYMN TO HER (1974, 2.5 min, 16mm, silent) Total running time: ca. 75 min.

    New York, NY: Anthology Film Archives
    9:00 PM, 32 Second Avenue
    HOME MOVIES: MARJORIE KELLER PROGRAM
    MISCONCEPTION (1977, 42 min, 16mm) "I was asked to film, for posterity, the birth of my niece. […] The birth is the crisis of the film and its center. What was once an event in life passed, and the trace of that event which was left on the film and tape recordings bore a constantly fading resemblance to what that event became in memory. But the one sequence that had the aesthetic quality of what Stieglitz once called 'equivalence' was the camera roll of the birth itself. Those moments of panic when all emotional response to what is before the filmmaker must be funneled through the eyes to the camera; those three minutes of film seem to be the one natural event I had that was a film event, too. The film extends in both directions from that roll, finding its visual and aural tone there, explicating the struggle of the couple viscerally played out there." -Marjorie Keller ON THE VERGE OF AN IMAGE OF CHRISTMAS (1978, 10.5 min, 16mm, silent) "A study of the patterns and gesture of family when ceremony no longer counts. Made to remember the occasion and place myself as a part of it. For my sister, Jackie." -Marjorie Keller ANCIENT PARTS AND FOREIGN PARTS (1979, 6 min, 16mm, silent) ANCIENT PARTS portrays the symbolic differentiation and mock conquest of a boy and his mother. Total running time: ca. 65 min.

    Paris, France: AgX Film Collective
    8pm, L’Abominable, Sous l’école Joliot-Curie, 30 rue de Genève 93120 La Courneuve RER B / La Courneuve - Aubervilliers
    Visible | Invisible
    A screening program by Ernesto Livon-Grosman and Susan DeLeo. In film, between one image and the next, there is an invisible moment that our consciousness does not recognize and yet it makes possible the next visible image. With every frame a formal device becomes a metaphor of the medium and a paradox of our perception: the presence of an image depends on the absence of the previous one. Entre dos imágenes fílmicas hay un momento invisible que nuestra conciencia no percibe y que sin embargo hace posible que veamos la próxima imagen. Con cada cuadro este dispositivo formal se transforma en una metáfora de lo fílmico y a la vez una paradoja de nuestra percepción: la presencia de una imagen depende de la ausencia de la anterior. //// PROGRAM: 1. SENSE(S) OF TIME (2018) / WENHUA SHI / 5' 30’’ / 16mm / Sense(s) of Time depicts the lyrical and poetic passage of time. The work reflects on time, and focuses on defining subjective and perceptual time with close attention to stillness, decay, disappearance, and ruins. Lo(s) sentido(s) del tiempo presenta el lirismo y la poesía del paso del tiempo. La película reflexiona sobre el tiempo y se concentra en definirlo en su dimensión subjetiva prestando especial atención a la estasis, la decadencia, la desaparición y las ruinas. https://vimeo.com/wenhuashi //// 2. HISTORY OF THE DREAMING WATER - Chapter One (2018) / BRITTANY GRAVELY / 2’ / 16mm / Shapes developing from a primordial chemistry... Formas que se desarrollan a partir de una química primordial... https://vimeo.com/magicalapproach //// 3. ORACLE (2014) / DOUGLAS URBANK / 7' / 16mm / The Oracle answers a question. El Oráculo responde a una pregunta. https://vimeo.com/douglasurbank //// 4. LE TRÉSOR (2016) / STEFAN GRABOWSKI / 2’ / 16mm / Walking through Saint-Aquilin-de-Corbion, July 2016. A light rain fell steadily, slowly saturating my clothes and leaving me with a lingering chill, followed by a violent fever and a sleepless night. The treasure I found there was dingy and tarnished, but precious still. Caminando a través de Saint-Aquilin-de-Corbion, julio del 2016. Caía una llovizna constante que poco a poco fue empapando mis ropas hasta dejarme con frío al que le siguió fiebre y una noche en vela. El tesoro que encontré allí fue sombrío y opaco y aun así precioso. https://vimeo.com/stefangrabowski //// 5. WALDEN (2016) / SUSAN DELEO / 2’ 30’’ / 16mm / A woman’s dreamlike journey and meditation through water, wind and stone. Actor: Seanne Sullivan. El viaje onírico de una mujer y su reflexión a través del agua, el viento y la piedra. Actriz: Seanne Sullivan. https://vimeo.com/user10643376 //// 6. CUTS AND SHIFTS - AFTER POTTEAU (2018-19) / NICOLE PRUTSCH / 2’ 30’’ / 16mm / In Cuts and Shifts - after Potteau, portraits from a series of ethnographic photographs collected by French anthropologist Jacques Philippe Potteau at the Museum de Paris between 1855-1869 are manipulated by digital cuts and shifts. In collaboration with Susan Gilman and the Tozzer Library of the Harvard University Archives. En Cortes y Transformaciones - después de Potteau, los retratos de una colección de fotos etnográficas recopiladas por el antropólogo Jacques Phillipe Potteau en el Museo de París entre 1855 y 1869 son manipuladas por medio de cortes y transfor-maciones digitales. Realizado en colaboración con Susan Gilman y la Biblioteca Tozzer de los Archivos de la Universidad de Harvard. https://vimeo.com/user11992131 //// 7. DEER ISLAND (2017) / TIM WOJCIK / 4’ 30’’ / 16mm / Exploration of the history of a place, through sight and sound. Explorar la historia de un lugar a través de la imagen y el sonido. https://vimeo.com/timwojcik //// 8. TE QUIERO TANTO (2018) / ANTO ASTUDILLO / 6’ / 16mm / A film that gently explores the tensions between ethnicity and the politics of the immigrant experience. Using 16mm and super8 film cameras, Anto moves from her childhood neighborhood in Chile to Hispanic neighborhoods in the US. In brief encounters with local people, this film is an attempt to relate to the new country of residence. Un film que cuidadosamente explora las tensiones entre la etnicidad y las políticas de la experiencia inmigratoria. Utilizando Super 8 y 16mm Anto viaja desde el barrio de su infancia en Chile hasta las comunidades hispanas de los EEUU. A través de breves encuentros con la gente del lugar el film propone conectarse con el nuevo país de residencia. https://www.antoastudillo.com/#! //// 9. THE SAME (2019) / ETHAN BERRY AND DOUGLAS URBANK / 3’ 30’ / 16mm / / In this film, the text is an acknowledgement of the arrow of time that cinema represents. In a sense the film unfolds into the past as it passes through the projector. En este film el texto es un reconocimiento del cine como una repesentanción del paso del tiempo. De alguna manera, al pasar a través del proyector, el film se desdobla en el pasado. https://vimeo.com/ethanberry //// 10. FABLE (1999) / ROBERT TODD / 15’ 30’’ / 16mm / Musing on the violence we do to the world and our histories by trying to rid them of impurities, this fantastic "tale" centers on a family's house passed down through five generations. Mientras que reflexiona sobre la violencia que le imponemos al mundo y a nuestras historias al tratar de eliminar sus impurezas, este "cuento" fantástico se enfoca en una casa de familia por la que pasaron cinco generaciones. https://vimeo.com/roberttodd

    Tuesday, June 11, 2019
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    New York, NY: Anthology Film Archives
    7:00 PM, 32 Second Avenue
    HOME MOVIES: GUNVOR NELSON PROGRAM
    MY NAME IS OONA (1969, 10 min, 16mm) "MY NAME IS OONA captures in haunting, intensely lyrical images fragments of the coming to consciousness of a child girl [Gunvor Nelson's daughter]." -Amos Vogel, VILLAGE VOICE RED SHIFT (1984, 50 min, 16mm) "[RED SHIFT] involves Gunvor Nelson, her mother, and her daughter. Carefully and with great tenderness, it focuses on these three women, trying to show us their relationship, succeeding with an emotional impact that is hardly ever found in such a subject. It is not the social context that is exploited but the little gestures, everyday events. RED SHIFT is a radical film; it sets new measures for avant-garde filmmaking dealing with personal problems." -Alf Bold, ARSENAL TIME BEING (1991, 8 min, 16mm, silent) "This extraordinary film manages to craft a delicate portrait of [Nelson's] mother through time and refracted light…." -Crosby McCloy Total running time: ca. 75 min.

    New York, NY: Anthology Film Archives
    7:30 PM, 32 Second Avenue
    THE FILMS OF WILLIAM RABAN, PGM 6
    72-82 (2014, 60 min, DCP) Using archival film, printed matter, letters, and recent oral testimony, Raban reconstructs the first ten years of the London arts organization, Acme. As an Acme house tenant, an exhibiting artist at Acme gallery, and a documenter of events, Raban tells the story of an intensely creative scene in which he played a significant part. "Though 72-82 appears to follow the template of so many historical documentaries, relying on archival footage and talking heads, it's both a stellar example of the form and in a key sense far more thoughtfully and rigorously constructed than most. Thanks to an image track composed entirely of archival material (moving image footage as well as photographs, audio recordings, exhibition posters, brochures, and more), with not a shred of banal, contemporary connective tissue, 72-82 is more of an historical collage than a Ken Burns-like illustrated lecture. And, as signaled by the film's subtitle, 'Fallibility of Memory?,' Raban subtly reconfigures the documentary format to emphasize the process by which history is not revealed but rather constructed, even by direct participants." -Jared Rapfogel, CINEASTE MAGAZINE

    Oakland: Black Hole Cinematheque
    7pm, Black Hole
    Sitting Here, Vibrating: films, etc by Zachary Epcar (artist in person)
    announcing more dates in the final days programming for black hole cinematheque

    Wednesday, June 12, 2019
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    New York, NY: Anthology Film Archives
    6:30 PM, 32 Second Avenue
    PARADISE NOT YET LOST (aka OONA'S THIRD YEAR)
    by Jonas Mekas. "The film is…constructed as a letter to [Jonas's daughter] Oona, 'to serve her, some day, as a distant reminder of how the world around her looked during the third year of her life.' […] The title, PARADISE NOT YET LOST, suggests that through Oona and the growth of his family, Mekas finds some hope of redemption. To that end, Mekas passes on some of the lessons he's learned to his daughter: 'I'm talking to you, Oona. Be idealistic, don't be practical. Seek the insignificant small but essential qualities, essential to life.' […] As we live after the Fall (and for Mekas, the devastating Fall occurred when he was forced to leave Lithuania), we can only catch glimpses of Paradise, in fragments. Mekas's great accomplishment, then, is to persist in filming Paradise wherever he can, despite the darkness and struggle that surrounds him." -Genevieve Yue, SENSES OF CINEMA Preceded by: Gunvor Nelson MY NAME IS OONA (1969, 10 min, 16mm)[PARADISE NOT YET LOST also screens on Fri, May 24 at 7:30, as part of our Jonas Mekas tribute screenings.]

    New York, NY: Anthology Film Archives
    9:00 PM, 32 Second Avenue
    JOYCE AT 34 + MOM
    by Joyce Chopra & Claudia Weill + Mark RanceShare +Twitter. Joyce Chopra & Claudia Weill JOYCE AT 34 (1972, 28 min, 16mm. Print courtesy of the Reserve Film and Video Collection of the New York Public Library for the Performing Arts.) One of the earliest autobiographical documentaries, and a key filmic work of second-wave feminism, JOYCE AT 34 is a portrait of the filmmaker as new mother. With input from Chopra's mother and partner - as well as second director Claudia Weill (GIRLFRIENDS) - JOYCE AT 34 chronicles Chopra attempting to balance work and parenthood in the first year of her daughter's life with intense honesty. & Mark Rance MOM (1974, 40 min, 16mm. Print courtesy of the Chicago Film Archives.) "My mother decided to go back to school when she was 47 years old. Her four children had all left for college, and she felt now was the time to re-start her career in fashion design, so she enrolled in the Fashion Institute of Technology. I was auditing a film class at MIT's Film & Video section and made this documentary about her. […] This film turned into a double portrait of her and of me." -Mark Rance

    Thursday, June 13, 2019
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    Grenoble, France: AgX Film Collective
    8pm, Atelier MTK
    Visible | Invisible
    A screening program by Ernesto Livon-Grosman and Susan DeLeo. In film, between one image and the next, there is an invisible moment that our consciousness does not recognize and yet it makes possible the next visible image. With every frame a formal device becomes a metaphor of the medium and a paradox of our perception: the presence of an image depends on the absence of the previous one. PROGRAM: Works by Wenhua Shi, Brittany Gravely, Douglas Urbank, Stefan Grabowski, Susan DeLeo, Nicole Prutsch, Tim Wojcik, Anto Astudillo, Ethan Berry, and Robert Todd. See the full program at https://agxfilm.org

    New York, NY: Anthology Film Archives
    9:15 PM, 32 Second Avenue
    FAMILY PORTRAIT SITTINGS
    by Alfred Guzzetti. FILMMAKER IN PERSON ON SAT, JUNE 15! "One of the finest films in this loose grouping [of films about families] is Alfred Guzzetti's FAMILY PORTRAIT SITTINGS, in which members of Guzzetti's family sit at home and reflect on their lives. Gradually, all the shadows and memories emerge: Italy, emigration, marriage and children, work and politics. Eventually the family is seen very clearly, placed against the large socio-economic background of America, which gives one not just an individual story but a microcosm of a whole ethnic group's history." -Alan Rosenthal, THE DOCUMENTARY CONSCIENCE [We will also be screening Alfred Guzzetti's new film, THE GIFTS OF TIME, on Sat, June 15 at 8:30; click here for details.]

    Saturday, June 15, 2019
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    Oakland: Shapeshifters Cinema
    7:30-10PM, Temescal Art Center, 511 48th St.
    Shapeshifters Cinema presents Craig Baldwin
    Craig Baldwin returns to Shapeshifters after six years to perform an expanded version of his ongoing double-projection expanded cinema experiment "The 10th Dimension" (now probing further into new realms of perception). Using educational and industrial films from his own archive that explore various modes of human perception, Baldwin produces an existential laboratory for viewers to consider their own relationship to the moving image. The audience is at once subject and witness in this live cinema experiment.

    Sunday, June 16, 2019
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    Barcelona, Spain: AgX Film Collective
    7pm, Zumzeig Cinema, Carrer de Béjar, 53 baixos, Barcelona, Spain
    Visible | Invisible
    Crater Lab presents a program of 16mm film works created by members of AgX (a Boston-based film collective), curated by Ernesto Livon-Grosman and Susan DeLeo. "In film, between one image and the next, there is an invisible moment that our consciousness does not recognize and yet it makes possible the next visible image. With every frame a formal device becomes a metaphor of the medium and a paradox of our perception: the presence of an image depends on the absence of the previous one." -Ernesto Livon-Grosman and Susan DeLeo


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