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This week [July 21 - 28, 2022] in avant garde cinema

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Events are sorted alphabetically BY CITY within each DATE .
This page is updated every Sunday.
  • Thursday, July 21, 2022
  • Friday, July 22, 2022
  • Saturday, July 23, 2022
  • Sunday, July 24, 2022
  • Thursday, July 28, 2022
  • This week's programs (summary):

    Thursday, July 21, 2022
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    Venue type: Live, physical event
    Anthology Film Archives
    9pm ET, 32 Second Avenue, New York

    SOFT FICTION by Chick Strand
    1979, 54 min, 16mm

    Restored in 2015 by the Academy Film Archive. Restoration funding provided by the Los Angeles County Museum of Art (LACMA) and The Film Foundation.

    SOFT FICTION is a personal documentary that brilliantly portrays the survival power of female sensuality. It combines the documentary approach with a sensuous lyrical expressionism. Strand focuses her camera on people talking about their own experience, capturing subtle nuances in facial expressions and gestures that are rarely seen in cinema. The title SOFT FICTION works on several levels. It evokes the soft line between truth and fiction that characterizes Strand’s own approach to documentary, and suggests the idea of softcore fiction, which is appropriate to the film’s erotic content and style. It’s rare to find an erotic film with a female perspective dominating both the narrative discourse and the visual and audio rhythms with which the film is structured.” –Marsha Kinder, FILM QUARTERLY

    Friday, July 22, 2022
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    7/22 through 7/23
    Venue type: Live, physical event
    No Name Cinema
    6:30pm MT, No Name Cinema, 2013 Pinon Street, Santa Fe

    PACKARD's WILD WEEKEND!
    Two days & two different programs celebrating the work of underground filmmaker Damon Packard!

    --- Fri July 22nd - doors: 6:30, films: 7pm ---

    REFLECTIONS OF EVIL - This screening marks the 20th Anniversary of Packard's 2002 magnum opus; a bizarre, difficult and visionary treatise on American life, paranoia and the delusions of Hollywood. " REFLECTIONS OF EVIL is like seeing an astral projection of someone’s mental breakdown through the prism of low-budget horror aesthetics. Produced and self-distributed by filmmaker Damon Packard thanks to an unexpected inheritance, this is a highly personal psychedelic collage that utilizes 16mm film, video, and found footage to tell the story of a wandering creature named Bobby (Packard) as he searches for his missing sister . . . who may have fallen in with a supernatural drug cult. Packard’s schizoid style is built on visual manipulations, breakneck editing, renegade plagiarism, mismatched audio effects, and the juxtaposition of tones. This is true genre anarchy: a rage-filled, 137-minute outsider manifesto that toes the line between artsy triumph and genre pastiche. Imagine a stream-of-consciousness collaboration between Sam Raimi and Charles Manson and you’re halfway there. After being caught while filming REFLECTIONS OF EVIL inside Universal Studios, Packard was banned for life from the theme park. He made the right choice." --- The night will begin with a 20 min behind-the-scenes documentary on the making of Reflections, and an advert for Packard's Masterclass in filmmaking!



    --- Sat July 23rd - doors: 6:30, films: 7pm ---

    SHORT FILMS 1988-2022 - A retrospective spanning 34 years of filmmaking that showcases Packard's humor, talent and singular vision in underground film. An overview of Packard's short and mid-length works including Dawn of an Evil Millennium (his first film shot on Super-8), the infamous Untitled Star Wars Mockumentary , 2015's transmission from beyond the grave titled John Carpenter's Ghost , and the digital effects laden explosion of 2022's Howl of the Unvaccinated . NOT TO BE MISSED!!!

    7/22 through 7/23
    Venue type: Live, physical event
    No Name Cinema
    7pm MT, 2013 Pinon Street

    Damon Packard retrospective
    For NNC's 40th program, we're beyond thrilled to be presenting TWO DAYS & TWO DIFFERENT PROGRAMS celebrating the work of underground film director Damon Packard (@spacedisco4)!!!

    Fri July 22nd
    doors: 6:30, films: 7pm

    REFLECTIONS OF EVIL - This screening marks the 20th Anniversary of Packard's 2002 magnum opus; a bizarre, difficult and visionary treatise on American life, paranoia and the delusions of Hollywood. "REFLECTIONS OF EVIL is like seeing an astral projection of someone’s mental breakdown through the prism of low-budget horror aesthetics. Produced and self-distributed by filmmaker Damon Packard thanks to an unexpected inheritance, this is a highly personal psychedelic collage that utilizes 16mm film, video, and found footage to tell the story of a wandering creature named Bobby (Packard) as he searches for his missing sister . . . who may have fallen in with a supernatural drug cult. Packard’s schizoid style is built on visual manipulations, breakneck editing, renegade plagiarism, mismatched audio effects, and the juxtaposition of tones. This is true genre anarchy: a rage-filled, 137-minute outsider manifesto that toes the line between artsy triumph and genre pastiche. Imagine a stream-of-consciousness collaboration between Sam Raimi and Charles Manson and you’re halfway there. After being caught while filming REFLECTIONS OF EVIL inside Universal Studios, Packard was banned for life from the theme park. He made the right choice." The night will begin with a 20 min behind-the-scenes documentary on the making of Reflections & an advert for Packard's Masterclass in filmmaking!

    Sat July 23rd
    doors 6:30, films 7pm

    SHORT FILMS 1988-2022 - A retrospective spanning 34 years of filmmaking that showcases Packard's humor, talent and singular vision in underground film. An overview that includes short and mid-length works like Dawn of an Evil Millennium (his first film shot on Super-8), the infamous Untitled Star Wars Mockumentary, and the digital effects laden explosion of 2022's Howl of the Unvaccinated. NOT TO BE MISSED!!!

    🏴

    Free admission & Free popcorn
    (donations greatly appreciated)

    Bring yer own snacks & drinks

    MASKS REQUIRED
    no whining

    Saturday, July 23, 2022
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    Venue type: Live, physical event
    Anthology Film Archives
    5:45pm + 8pm ET, 32 Second Avenue, New York

    EC: STAN BRAKHAGE PGM + THE TEXT OF LIGHT
    5:45pm
    THE ANIMALS OF EDEN AND AFTER , 1970, 35 min, 16mm
    SEXUAL MEDITATION: ROOM WITH A VIEW , 1971, 4 min, 16mm, b&w. Preserved by Anthology Film Archives.
    THE SHORES OF PHOS: A FABLE , 1972, 10 min, 16mm
    THE WOLD-SHADOW , 1972, 3 min, 16mm
    THE RIDDLE OF LUMEN , 1972, 14 min, 16mm
    SINCERITY: REEL NO. 1 , 1973, 27 min, 16mm
    Total running time: ca. 95 min.

    8pm
    THE TEXT OF LIGHT , by Stan Brakhage, 1974, 67 min, 16mm, silent
    Preserved by Anthology Film Archives.

    “All that is, is light.” –Johannes Scotus Erigena

    “[Brakhage shot] THE TEXT OF LIGHT in (through) a large crystal ashtray. This magnificent film – a slow montage of iridescent splays of light and shifting landscapes of sheer color, which acknowledges debts to Turner and American Romantic landscape painters as well as to James Davis, the pioneer film-maker of light projections – is the culmination of Brakhage’s exploration of anamorphosis.” –P. Adams Sitney, VISIONARY FILM

    Sunday, July 24, 2022
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    Venue type: Live, physical event
    Los Angeles Filmforum
    Doors open at 12:30 pm, showtime at 1:00 pm, 2220 Arts + Archives, 2220 W. Beverly Blvd., Los Angeles CA
    Event URL: https://www.lafilmforum.org/schedule/summer-fall-2022/uranium-hex-the-nuclear-films-of-sandra-lahire/
    Uranium Hex: The Nuclear Films of Sandra Lahire
    Tickets: $12 general, $8 students/seniors, free for Filmforum members at https://link.dice.fm/maedafa47338

    Presented for the first time in Los Angeles, URANIUM HEX: THE NUCLEAR FILMS OF SANDRA LAHIRE introduces four important works by the British experimental feminist filmmaker exploring the anti-nuclear, anti-war movement of the 1980s alongside deeply personal narratives of sickness, contamination and corporeal vulnerability of both the self and land.

    The program will be introduced by archivist and programmer Charlotte Procter (London, UK) with artist P. Staff (Los Angeles, USA).

    Sandra Lahire (1950-2001) was a central figure in the experimental feminist filmmaking community that emerged in the UK in the 1980s. She studied Philosophy at the University of Newcastle-on-Tyne, Fine Art Film at St Martins School of Art (1984), and Film & Environmental Media at the Royal College of Art (1986). She was a dedicated member of the London Film-Makers’ Co-op (now LUX) and feminist film and video distributor Circles (now Cinenova), and her collaborations with other artists were integral to her filmic practice and feminist politics. She utilized the optical printer at the co-op to make stunning 16mm films that explored illness, lesbian identity, the work of Sylvia Plath, environmental concerns, and the anti-nuclear movement. Integral to all her work is the relationship between the body and the materiality of film, registers of violence and proximity to harm. Her films merge documentary, performance, animation, superimposition – both in-camera and via the optical printer.Lahire died in 2001, aged 50, after a prolonged struggle with anorexia. Her loss was felt keenly by her community of friends and collaborators.

    Venue type: Live, physical event
    Anthology Film Archives
    5pm ET, 32 Second Avenue, New York

    EC: THE PITTSBURGH TRILOGY by Stan Brakhage
    Preserved by Anthology Film Archives.

    EYES (1970, 36 min, 16mm, silent)
    “After wishing for years to be given the opportunity of filming some of the more ‘mystical’ occupations of our Times – some of the more obscure Public Figures which the average imagination turns into ‘bogeymen’... viz.: Policemen, Doctors, Soldiers, Politicians, etc.: – I was at last permitted to ride in a Pittsburgh police car, camera in hand, the final several days of September 1970.” –Stan Brakhage

    DEUS EX (1971, 34 min, 16mm, silent)
    “I have been many times very ill in hospitals; and I drew on all that experience while making DEUS EX in West Penn. Hospital of Pittsburgh; but I was especially inspired by the memory of one incident in an emergency room of San Francisco’s Mission District: while waiting for medical help, I had held myself together by reading an April-May 1965 issue of ‘Poetry Magazine’: and the following lines from Charles Olson’s ‘Cole’s Island’ had especially centered the experience, ‘touchstone’ of DEUS EX, for me: Charles begins the poem with the statement ‘I met Death –’ And then: ‘He didn’t bother me, or say anything. Which is / not surprising, a person might not, in the circumstances; / or at most a nod or something. Or they would. But they wouldn’t, / or you wouldn’t think to either, / it was Death. And / He certainly was, the moment I saw him.’” –Stan Brakhage

    THE ACT OF SEEING WITH ONE’S OWN EYES (1971, 32 min, 16mm, silent)
    “Brakhage, entering, with his camera, one of the forbidden, terrific locations of our culture, the autopsy room. It is a place wherein, inversely, life is cherished, for it exists to affirm that no one of us may die without our knowing exactly why. All of us, in the person of the coroner, must see that, for ourselves, with our own eyes.” –Hollis Frampton

    Total running time: ca. 105 min.

    Thursday, July 28, 2022
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    Venue type: Live, physical event
    Mills Folly Microcinema
    8pm Central, 111 S Livingston St

    Golden Jubilee and Experimental Short Films
    Join us for an evening of recent short experimental films on Wednesday, July 28, at 8:00 p.m. (Please note later start, closer to sunset.) Admission $5.00, free for ALL members. Seating is limited, and doors open at 7:30 p.m. A $1 fee will be added for single admission credit card charges, but no fee for multiple admissions ($10 or more).

    Mills Folly programmers have been busy surveying recent online experimental film festivals this past Spring, and we will present programs of short films and videos during our Summer 2022 season.

    Two Sisters | Magdalena Bermudez | 2021 | 8 minutes

    A history of sister portraiture is reanimated by nascent datasets, as portraits dodge derogatory categories by paradoxically inhabiting both one and multiple bodies. Featured at the Ann Arbor Film Festival, and Audience Award winner at the 2022 Milwaukee Underground Film Festival.

    Magdalena Bermudez is an MFA candidate at the University of Wisconsin-Milwaukee, and her work has been screened at the Black Maria Film Festival and Anthology Film Archives.


    Flowers blooming in our throats | Eva Giolo | Belgum, Italy | 2020 | 8.5 minutes

    Everyday occupations, some domestic tools, fruits, light, rope and many hands. Hands that dig in the earth, that cut, that cook, that touch, rip, wash, squeeze, erase, press, push. The sound of domestic spaces and its silence. Red flowers one summer. Flowers blooming in our throats is a cinematic poem in response to the worldwide pandemic of 2020. Commissioned and produced by In Between Art Film for the project Mascarilla 19 – Codes of Domestic Violence. It was nominated for The European film award and awarded the Top Prize at THIS IS SHORT 2021, received the National Award Special Mention at Lago Film Fest 2021, the jury special mention at First Crossings Festival and the Critics’s jury award at 25FPS Festival.

    Eva Giolo is an artist working across film, video, and installation. Her work has been exhibited at Sadie Coles HQ in London, WIELS in Brussels, MAXXI in Rome, GEM in the Hague, BOZAR in Brussels, M HKA in Antwerp, Kunsthalle Wien, Palazzo Strozzi in Florence and major film festivals like Rotterdam, Viennale, FID Marseille, Cinéma du Réel, Punto de Vista and Courtisane.


    Golden Jubilee | Sunil Sanzgiri | 2021 | 19 minutes

    What is liberation when so much has already been taken? Who has come for more? Golden Jubilee, the third film in a series of works about memory, diaspora and decoloniality, takes as its starting point scenes of the filmmaker’s father navigating a virtual rendering of their ancestral home in Goa, India, created using the same technologies of surveillance that mining companies use to map locations for iron ore in the region. A tool for extraction and exploitation becomes a method for preservation. The father, sparked by a memory of an encounter as a child, inhabits the voice of a spirit known locally as Devchar, whose task is to protect the workers, farmers, and the once communal lands of Goa. Protection from what the filmmaker asks? Sanzgiri’s signature blend of 16mm sequences, 3D renders, direct animation, and desktop aesthetics are vividly employed in this lush, and ghostly look at questions of heritage, culture, and the remnants of history.

    The title "Golden Jubilee"—referring to both a forgiveness of debt and the 50th anniversary of liberation—thinks through how we can understand anti-colonial liberation struggles at a time when neo-colonial and neo-imperialist devastation still threatens the lives and land across the Global South.

    Suneil Sanzgiri is an artist, researcher, and filmmaker. His work spans experimental video and film, animations, essays, and installations, and contends with questions of identity, heritage, culture and diaspora in relation to structural violence. He graduated from the Massachusetts Institute of Technology (MIT) with a Masters of Science in Art, Culture and Technology in 2017.


    Home When You Return | Carl Elsaesser | 2021 | 30 minutes

    "Superimposing the stories of two women—the filmmaker’s late grandmother and the amateur filmmaker Joan Thurber Baldwin—Home When You Return explores the psychogeographies of mourning through a variety of modes, from documentary to melodrama. Emptied and put up for sale following its matriarch’s passing, the family home becomes the site of a winding tour through polymorphic representations of the past in media and memory." - NYFF Currents description.

    Carl Elsaesser's films have been screened at the New York Film Festival, Walker Museum of Art, Prismatic Grounds, and Union Docs. In 2016 he received the Barbara Aronofsky Latham Award for Emerging Experimental Video Artist at the Ann Arbor Film Festival.


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