View this email in your browser <https://mailchi.mp/6d6dc1b2bdd3/this-week-in-avant-garde-cinema-11047859?e=857b71a9cb>
*This Week [August 29 - September 6, 2026] in Avant Garde Cinema* To receive the weekly listing directly via email rather than through Frameworks, just hit Subscribe <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=091193278b&e=857b71a9cb> . *DEADLINES APPROACHING* **** Enter upcoming calls for entry here <https://us.list-manage.com/PhUiCy4EJVH?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> **** ___________________________________________________________________________________ *sorted by submission deadline* 08.31.2026 Ann Arbor Film Festival <https://us.list-manage.com/kdwrYJmyuna?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> (Regular Deadline) 09.01.2026 Bloedel Reserve Creative Residency <https://us.list-manage.com/xQv2wzmFjA7?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> 09.14.2026 Slamdance Film Festival <https://us.list-manage.com/WP9A16DpcXh?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> (Late Deadline) 09.15.2026 International Film Festival Rotterdam <https://us.list-manage.com/12jweRfx6fm?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> (Late Deadline) 09.18.2026 accordi @ DISACCORDI - International Short Film Festival <https://us.list-manage.com/er2ZNOT0F1n?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> 10.15.2026 Punto de Vista Festival <https://us.list-manage.com/z1kb3943E29?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> 10.23.2026 Coney Island Film Festival <https://us.list-manage.com/mB109RH1Hto?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> (Regular Deadline) 10.30.2026 Alchemy Film and Moving Image Festival <https://us.list-manage.com/cGK70KSAjkZ?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> (Regular Deadline) 10.31.2026 dresdner schmalfilmtage <https://us.list-manage.com/LRYiwQZy_5j?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> 10.31.2026 Wide Open Experimental Film Festival <https://us.list-manage.com/s5BtP8aCMeX?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> (Regular Deadline) 11.16.2026 Cosmic Rays Film Festival <https://us.list-manage.com/zIK9bzjwjvc?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> 03.15.2027 Fracto Experimental Film Encounter <https://us.list-manage.com/96YiW68kBGS?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> *EVENTS* **** Enter your event announcements here <https://us.list-manage.com/3OES_loPp9x?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> **** ___________________________________________________________________________________ *complicated sorting but a true attempt, enjoy!* This week's programs (summary): - Overexposed: Art, Technology, And The Body <https://us.list-manage.com/x2lL9aJKVi_?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> [March 14-Jan 3, Astoria, NY] - Nathaniel Dorsky & Jerome Hiler: Film Offerings <https://us.list-manage.com/DlJXphZgWG1?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> [August 14-29, Berkeley, CA] - Bibliomania: A Preface To Chronovisor, A 15-Film Series <https://us.list-manage.com/13R3PvMCQ3m?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> [August 28 - September 3, New York, NY] - Meander (2024): Film By Lexi Bass <https://us.list-manage.com/rjfXIlISyyv?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> [August 30, Louisville, KY] - Craig Baldwin's SONIC OUTLAWS <https://us.list-manage.com/Ux_J4FDqQ44?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> [September 3, Los Angeles, CA] - Mix NYC Presents: Early Interiority: Vintage Trans Cinema <https://us.list-manage.com/2QM28Z9L5OY?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> [September 3, New York, NY] - What Godmilow Taught <https://us.list-manage.com/16bqgpBoe4t?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> [September 4-6, New York, NY] - Friends Song: Would You Do This With Me? <https://us.list-manage.com/PxkVPj5xU66?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> [September 4, Venice, CA] - The Long Conversation <https://us.list-manage.com/N6sbSQ0S3bM?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> [ongoing, online] - 6x6 Project: Artists' Moving Image Works <https://us.list-manage.com/hPbubIUDEtR?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> [ongoing, online] *STARTING BEFORE SATURDAY, AUGUST 29, 2026* *March 14 - January 3* Venue type: *Live, physical event* Museum of the Moving Image <https://us.list-manage.com/5_tbTJq4XnG?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> times vary, see website, 36-01 35 Ave, Astoria, NY 11106 *Overexposed: Art, Technology, and the Body* The advent of cinema in the late 19th century allowed artists and scientists to record motion for the first time. Developed concurrently, X-ray technology extended vision beneath the skin, allowing people to view the body’s interior. Together, these tools produced spectacular new images that shaped modern conceptions of the body. Overexposed: Art, Technology, and the Body brings together research-based and educational films with contemporary artworks by 16 American and international artists to examine the historical, medical, and sociopolitical implications of seeing inside the body. The works on view were created between 1891 and 2025. *** Works included by Panteha Abareshi, Peggy Ahwesh, Zuza Banasińska, Lucien Castaing-Taylor and Verena Paravel, Theo Cuthand and Ruth Cuthand, Anna Kipervaser, Liz Magic Laser, Barbara Hammer, Ana Mendieta, Donald Rodney, Courtney Stephens, Agnes Questionmark, and Leslie Thornton and Ron Vawter. *** The show is organized into three overlapping sections. “Technology and Power” explores how film and X-ray technologies shaped Western claims to scientific objectivity. “Limits of the Gaze” features artists who engage with archives and found footage, and investigate their own bodies to expose and challenge the normative assumptions embedded in medical images. “Care and Control” examines how imaging tools have transformed practices of care. Overexposed invites visitors to reflect on how visualizing the inside of the body shapes medical knowledge and human experience. Organized by Sonia Epstein, Curator of Science & Technology Lead support for Overexposed was provided by the Alfred P. Sloan Foundation and the Andy Warhol Foundation for the Visual Arts. Additional generous support was provided by Romy Cohen, The Gladys Krieble Delmas Foundation, Elaine Goldman, May & Samuel Rudin Family Foundation, and Doug Pugh. ___________________________________________________________________ *August 14 - 29* Venue type: *Live, physical event* Pacific Film Archive <https://us.list-manage.com/Y1Ms6pDJBLt?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> times vary, see below, BAMPFA, 2155 Center Street, Berkeley, CA *Nathaniel Dorsky & Jerome Hiler: Film Offerings* Presented in association with San Francisco Cinematheque and Light Field. Nathaniel Dorsky and Jerome Hiler have lived in the Bay Area since 1971, relocating here from New York City and its environs. Their lives are intertwined as filmmakers, life partners, and lovers of art, poetry, and the natural world. One of their favorite haunts is BAMPFA, where they have attended countless programs as devoted members of our audience. Both Dorsky and Hiler are articulate about their approach to filmmaking, sharing what motivates each project and, in turn, how their view of life and the world have grown. *Hours for Jerome, Parts 1 & 2*, filmed between 1966 and 1970, is a beautiful portrait of their lives together on the East Coast. The second program, a selection of five lyrical films by Dorsky, includes *Alaya*, a meditation on landscape with an uncanny sense of scale, from the particulate to infinite space. Hiler will share four works distinguished by his interest in color and philosophical musings, including his pivotal *Words of Mercury* and his most recent film, *Careless Passage*. The series concludes with Dorsky’s monumental *Arboretum Cycle*, seven exquisite works filmed in Golden Gate Park and edited within the course of one year. BAMPFA is proud to represent both Dorsky and Hiler as their archive of record; each filmmaker has entrusted our institution with the long-term care and preservation of their films. This series offers a wonderful occasion to share some of the gems from the BAMPFA collection. —Susan Oxtoby, Director of Film and Senior Film Curator --- Fri, Aug 14 @ 7PM PT --- *A Fall Trip Home* (1964) by Nathaniel Dorsky (US); 16mm color, sound 11 minutes. *Summerwind* (1965) by Nathaniel Dorsky (US); 16mm, color, sound, 14 minutes. *Hours for Jerome, Part 1* (1966–70/82) by Nathaniel Dorsky (US); 16mm, color, silent, 21 minutes. *Hours for Jerome, Part 2* (1966–70/82) by Nathaniel Dorsky (US); 16mm, color, silent, 24 minutes. TRT: 70 minutes --- Sun, Aug 16 @ 1:30PM PT --- *Sarabande* (2008) by Nathaniel Dorsky (US); 16mm, color, silent, 15 minutes. *August and After* (2012) by Nathaniel Dorsky (US) & Jerome Hiler (US); 16mm, color, silent, 19 minutes. *Alaya* (1987) by Nathaniel Dorsky (US); 16mm, color, silent, 28 minutes. *O Death* (2023) by Nathaniel Dorsky (US); 16mm, color, silent, 6 minutes. *Ossuary* (1995–2005/16) by Nathaniel Dorsky (US); 16mm, color, silent, 43 minutes. TRT: 111 minutes --- Fri, Aug 21 @ 7PM PT --- *Words of Mercury* (2011) by Jerome Hiler (US); 16mm, color, silent, 22 minutes. *Gladly Given* (1997) by Jerome Hiler (US); 16mm, color, silent, 13 minutes. *Marginalia* (2016) by Jerome Hiler (US); 16mm, color, silent, 17 minutes. *Careless Passage* (2024) by Jerome Hiler (US); 16mm, color, silent, 20 minutes. TRT: 72 minutes --- Sat, Aug 29 @ 3PM PT --- *Elohim* (2017) by Nathaniel Dorsky (US); 16mm, color, silent, 31 minutes. *Abaton* (2017) by Nathaniel Dorsky (US); 16mm, color, silent, 19 minutes. *Coda* (2017) by Nathaniel Dorsky (US); 16mm, color, silent, 16 minutes. *Ode* (2017) by Nathaniel Dorsky (US); 16mm, color, silent, 20 minutes. *September* (2017) by Nathaniel Dorsky (US); 16mm, color, silent, 20 minutes. *Monody* (2017) by Nathaniel Dorsky (US); 16mm, color, silent, 16 minutes. *Epilogue* (2017) by Nathaniel Dorsky (US); 16mm, color, silent, 15 minutes. TRT: 137 minutes ___________________________________________________________________ *August 28 - September 3* Venue type: *Live, physical event* Film at Lincoln Center <https://us.list-manage.com/MAJqk_ph8Ju?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> times vary, see below, Walter Reade Theater + Elinor Bunin Munroe Film Center, 165 and 144 W 65th Street, New York, NY 10023 *Bibliomania: A Preface to Chronovisor, a 15-Film Series* Opening September 4 at Film at Lincoln Center, *Chronovisor*, a New Directors/New Films 2026 selection, follows Columbia scholar Béatrice Courte into the analog archives of New York City’s historic libraries on an all-consuming academic investigation into the story of a disputed Vatican time-viewing device. Kevin Walker and Jack Auen’s utterly unique debut feature performs a remarkable sleight of hand by transforming the private, internal momentum of close study into a genuinely kinetic pursuit, with each passage and cross-reference drawing Béatrice, and us, further into an obsessive, if largely deskbound, investigation. Presented in the lead-up to the film’s theatrical release, Bibliomania gathers films that find suspense, jokes, terror, revelation, strange pleasures, and formal invention in acts that might, at first glance, seem almost impossible to dramatize. These are films of secret books and scholarly obsessions, where archives set the stage for research montages and become thresholds to forbidden texts, images, and occult objects, and where words get scrutinized so closely they begin to look back at those of us reading them in a movie theater. Spanning everything from Hollywood blockbusters and screwball comedies to ghost stories, procedural thrillers, the essay film, structural experiments, and text cinema, the series traces the many ways artists have transformed the taciturn labor of reading and research into cinema. Taken together, the program places *Chronovisor* in conversation with a remarkable range of cinematic traditions, suggesting that audiences drawn to virtually any corner of the series may find a point of entry into its singular blend of archival thriller, intellectual detective story, and cinematic treasure hunt. This summer, come study with us at Film at Lincoln Center, and remember: our tickets make handy bookmarks, too. Program highlights include David Gatten in person on September 2 for an introduction and post-screening conversation accompanying a program of his work, which includes a one-of-a-kind 16mm print; the first New York City 70mm presentation of *Indiana Jones and the Last Crusade* since 1989; the North American premiere of the 4K restoration of Jean-Jacques Annaud’s *The Name of the Rose*; and the first U.S. theatrical screening of Ted Fendt’s *Classical Period* since its 2018 release, preceded by Alain Resnais’s *All the World’s Memory*. The series’ attention to the physical life of books and records extends into the projection booth, with nine works screening from 16mm, 35mm, or 70mm prints, including a rare archival 16mm presentation of *Reversal of Fortune* and an archival 35mm print of *Copycat*, alongside digital restorations. On Saturday, August 29, from 2:30pm to 8:45pm, Bibliomania will spill into the Furman Gallery with a free public book fair, open to everyone with no screening ticket required. Located directly across the lobby from the Walter Reade Theater, the fair will bring together independent publishers, booksellers, film publications, and artist-made zines for an afternoon and evening of browsing and direct sales. Participants include Film Comment magazine, New York Review Books, The Film Desk, The Word Is Change, Inventory Press, Archipelago Books, Seven Stories Press, Deep Vellum / Dalkey Archive Press, and Cashiers du Cinéma. Additionally, a unique partnership with the New York Public Library for the Performing Arts will allow attendees to sign up for a library card on the spot. Organized by Jack Auen, Kevin Walker, and Tyler Wilson. *Ball of Fire*, Howard Hawks, 1941, U.S., 35mm, 111m Sunday, August 30 at 3:00pm Monday, August 31 at 1:00pm *Curse of the Demon*, Jacques Tourneur, 1957, U.S., 35mm, 82m Friday, August 28 at 4:00pm Thursday, September 3 at 6:00pm – Introduction by Kevin Walker and Jack Auen *The Changeling*, Peter Medak, 1980, Canada, 4K Restoration, 107m Saturday, August 29 at 6:30pm – Introduction by Kevin Walker Tuesday, September 1 at 3:45pm *The Name of the Rose*, Jean-Jacques Annaud, 1986, Italy/West Germany/France, North American Premiere of 4K Restoration, 130m Friday, August 28 at 6:00pm – Introduction by Kevin Walker Monday, August 31 at 3:15pm *All the World’s Memory / Toute la mémoire du monde*, Alain Resnais, 1956, France, 21m *Classical Period*, Ted Fendt, 2018, U.S., 62m Tuesday, September 1 at 6:00pm – Introduction by Kevin Walker and Jack Auen Wednesday, September 2 at 4:00pm at Francesca Beale Theater *Indiana Jones and the Last Crusade*, Steven Spielberg, 1989, U.S., 70mm, 127m Saturday, August 29 at 3:45pm – Introduction by Tyler Wilson Tuesday, September 1 at 8:00pm *Reversal of Fortune*, Barbet Schroeder, 1990, U.S., 16mm, 111m Wednesday, September 2 at 1:30pm at Francesca Beale Theater Wednesday, September 2 at 8:30pm at Francesca Beale Theater – Introduction by Kevin Walker and Jack Auen *Copycat*, Jon Amiel, U.S., 1995, 35mm, 123m Sunday, August 30 at 5:30pm – Introduction by Kevin Walker Thursday, September 3 at 8:00pm *Thesis / Tesis*, Alejandro Amenábar, 1996, Spain, 125m Saturday, August 29 at 8:45pm Thursday, September 3 at 3:30pm *The Bone Collector*, Phillip Noyce, 1999, U.S., 35mm, 118m Sunday, August 30 at 8:00pm – Introduction by Kevin Walker Thursday, September 3 at 1:00pm *National Treasure: Book of Secrets*, Jon Turteltaub, 2007, U.S., 35mm, 124m Friday, August 28 at 8:45pm – Introduction by Kevin Walker Sunday, August 30 at 12:30pm *The Great Art of Knowing*, David Gatten, 2004, U.S., 16mm, 37m, Silent *The Matter Propounded: Of Its Possibility or Impossibility, Treated in Four Parts*, David Gatten, 2011, U.S., 16mm, 13m, Silent *What Places of Heaven, What Planets Directed, How Long the Effects? or, The General Accidents of the World*, David Gatten, 2013, U.S., 29m, Silent Wednesday, September 2 at 6:00pm at Francesca Beale Theater – Q&A with David Gatten *SUNDAY, AUGUST 30, 2026* Venue type: *Live, physical event* MaybeIt'sFate <https://us.list-manage.com/9iOOthU2O24?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> 6pm ET, MaybeIt'sFate Gallery, 1425 Story Ave, Louisville, KY *Meander (2024): Film by Lexi Bass* Maybe It’s Fate Presents Screening of Lexi Bass’s Award-Winning Experimental Science Fiction Film *Meander* (2024) In a near-future world shaped by artificial intelligence, automation, and the uncertainty of human survival, *Meander* finds herself trapped in the Underworld with no means of escape except offering her own biological potential for surrogate pregnancy in a questionable experimental facility. Drawing from ancient Greek mythology and speculative science fiction, *Meander* imagines a future where the boundaries between human, machine, and reproduction have become increasingly unstable. Interwoven with this dystopian narrative is filmmaker Lexi Bass’s personal meditation on pregnancy, motherhood, aging, and grief. Created at the precipice of age 40 and in the wake of her mother’s death, the film questions what it means to create life while confronting a rapidly changing technological landscape. *Meander* explores the fragile connections between generations, the desire for survival, and the uncertain future of humanity on the brink of artificial general intelligence. *Meander* (2024), directed by Lexi Bass Post-screening Q&A: Lexi Bass with moderator Lyall Bush Light refreshments will be provided *THURSDAY, SEPTEMBER 3, 2026* Venue type: *Live, physical event* Lightstruck <https://us.list-manage.com/moFb9d4hyEU?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> 8pm PT, 2220 Arts + Archives, 2220 Beverly Blvd., Los Angeles, CA 90057 *Craig Baldwin’s SONIC OUTLAWS* As mass media gets ever massier, and as the unbidden tide of its content/sewage has reached unimaginable, epic proportions, Lightstruck finds itself eagerly and urgently needing to present Craig Baldwin’s iconic experimental collage essay film *Sonic Outlaws* (1995) as a crucial antidote. Exploring and illuminating the culture jamming and media appropriation work of Negativland, John Oswald, Tape-beatles, Barbie Liberation Organization, and Emergency Broadcast Network, *Sonic Outlaws* remains one of the defining (and most entertaining) informational/educational texts exploring what we as a citizenry might do to creatively defang and critically feed back into this unchecked, unregulated, unenlightening mass- and social-media hellscape. Even if it feels like throwing a single vial of vaccine at a virus the size of Vermont, we guarantee you will come away from this film inspired and activated to weather the daily screen-based onslaught that comprises our collective daily adventure. Shot on eight different formats by longtime friend and collaborator Bill Daniel, Baldwin’s film is far more than a documentary or critical appraisal of a movement, as it actively engages in the sample-based, pastiche linguistics of radical collage that are *Sonic Outlaws*’ core focus. The film’s centerpiece is the storied lawsuit brought against Bay Area band Negativland, whose 1991 release “U2” badly pissed off Island Records and nearly got the band sued out of existence. But Baldwin intimately understands that the Negativland-U2 debacle is merely the most conveniently archetypal reference point for a much larger investigation of the underlying implications and overriding ideologies he and his subjects eloquently articulate throughout the film. By 1995, mass media had increasingly taken the form of an endless wave of unrequested content that engulfed society and its denizens, freely occupying real estate in everyone’s brains. By 2026, the word “exponential” doesn’t even begin to describe the scale shift we’re navigating, though it’s still essentially the same muck attempting to clog our neural pathways and overtax our pleasure/pain centers. But resistance isn’t futile, and response is required; *Sonic Outlaws* is a deeply insightful and engaging document of such responses, but also an ever-relevant argument both for their validity and their essential necessity. Program by Zena Grey & Mark Toscano. Notes by Mark Toscano. 16mm print courtesy of Craig Baldwin! *Sonic Outlaws* (1995) by Craig Baldwin, shot and edited by Bill Daniel 16mm, bw & color, 87m preceded by: *Craig’s Cutting Room Floor* (2011) by Linda Izcali Scobie, 16mm, bw & color, 1.5m ___________________________________________________________________ Venue type: *Live, physical event* Anthology Film Archives <https://us.list-manage.com/URmSJ4vA0Xz?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> 7:30pm + 9:30pm ET, 32 Second Avenue, New York, NY *MIX NYC PRESENTS: EARLY INTERIORITY: VINTAGE TRANS CINEMA* This program gathers rare vintage short films that open a portal to trans feminine interior life between 1967 and 1982. We meet these women in moments of quiet confidence, everyday mundanity, and enduring glamour. Through deeply intimate portraits, these films unearth buried pieces of trans history while illuminating how the world has long constricted trans women’s freedom to be. Made under a police state, these portraits mirror the experiences of trans femmes today. Each woman captured becomes a living testament to ancestral resilience and the enduring necessity of trans documentation. This program is co-curated by Thee Rose and Rosalina Michele for MIX NYC, one of the oldest queer experimental film festivals in the world. Special thanks to the Institute for Studies on Latin American Art (ISLAA); to Bradford Nordeen for providing the digital exhibition files; and to the Film-Makers' Coop for providing the 16mm prints. Nikolai Ursin *BEHIND EVERY GOOD MAN* (1967, 8 min, 16mm) Marguerite Paris *ALL WOMEN ARE EQUAL* (1972, 15 min, 16mm. Preserved by MIX NYC and the Women’s Film Preservation Fund via New York Women in Film & Television.) Joseph Horning *VALERIE* (1975, 16 min, 16mm-to-DCP) Manuel Herreros de Lemos & Mateo Manaure Arilla *TRANS* (1982, 22 min, 16mm-to-DCP) Total running time: ca. 65 min. Followed by a discussion between curators Thee Rose and Rosalina Michele, moderated by Kristen Lovell (co-director of *THE STROLL*) *FRIDAY, SEPTEMBER 4, 2026* *September 4 - 6* Venue type: *Live, physical event* Anthology Film Archives <https://us.list-manage.com/3LU8rCuJxxM?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> times vary, see below, 32 Second Avenue, New York, NY *WHAT GODMILOW TAUGHT* Jill Godmilow, who passed away last fall at the age of 81, was a crucial part of the film cultural community in New York and beyond, thanks to her work as a filmmaker; her parallel career as a teacher, scholar, and writer; and her founding in 1985 of the non-profit Laboratory for Icon & Idiom (which evolved into IndieCollect, an organization dedicated to the rescue, restoration and reactivation of independent cinema). Anthology presented a retrospective devoted to Jill’s work in 2021, and had the honor of commemorating her by hosting her memorial earlier this year. To further celebrate her life and career, we welcome another filmmaker whose work we’ve been devoted to over the years, and who was deeply influenced by Jill’s filmmaking, Mireia Sallarès, who will present her filmic tribute to and extended interview with Godmilow, *WHAT GODMILOW TAUGHT* (2010-14). Alongside *WHAT GODMILOW TAUGHT*, we’ll be screening several of Godmilow’s other acclaimed films, as well as Sallarès’s extraordinary, five-hour documentary *LAS MUERTES CHIQUITAS*, a film that Godmilow passionately advocated for, and from which she in turn took inspiration. Up until her death, she was at work on a film that would’ve paid explicit homage to *LAS MUERTES CHIQUITAS: ECSTATIC ORGASM*, an excerpt of which we’ll be including in this program. Special thanks to Mireia Sallarès; Ricky Herbst; Sandra Schulberg and the IndieCollect team; Ted Hope; Ernest Larsen & Sherry Millner; and Edda Manriquez (Academy Film Archive). This series is presented with the support of the Institut Ramon Llull. Upcoming Screenings Mireia Sallarès WHAT GODMILOW TAUGHT <https://us.list-manage.com/_3chllpTCdU?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> September 4 at 6:45 PM September 5 at 6:00 PM WHAT FAROCKI TAUGHT + SCUM MANIFESTO <https://us.list-manage.com/17c33OohhV_?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> September 4 at 8:45 PM Jill Godmilow ROY COHN/JACK SMITH <https://us.list-manage.com/U56UqrQcEf0?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> September 5 at 8:00 PM Mireia Sallarès THE LITTLE DEATHS / LAS MUERTES CHIQUITAS <https://us.list-manage.com/Rmya_SBVnN8?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> September 6 at 4:00 PM ___________________________________________________________________ Venue type: *Live, physical event* ARCANE Space <https://us.list-manage.com/_DKLdI8Efkk?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> 7:30pm PT, ARCANE Space, 324 Sunset Avenue, Unit G, Venice, CA *Friends Song: Would You Do This With Me?* a night of short films made collaboratively with friends *Muddy Vee + Mabel Waz Film Diary 2023* (2023) - Cheli Veloz & Lily Sarosi *Objectionable Fruit* (2025) - Hogan Seidel & Gabby Follett *Remember the End* (2009) - Tuni Chatterji & Clay Dean & John Wood *GARA GARA ガラガラの夢* (2024) - Johan Chang & Masa Kudo *Same/Different/Both/Neither* (2020) - Chica Barbosa & Fernanda Pessoa *Boulder-Brooklyn, a correspondence film* (2001) - Joel Schlemowitz & Nicole Koschmann *A and B In Ontario* (1984) - Hollis Frampton & Joyce Wieland Runtime: 64 minutes Outdoor screening with open seating. Pay what you can at the door. Curated by Nicole Ucedo & Erica Sheu. Poster design by Mars Rojas *ONGOING* Venue type: *Virtual, online event* Riverwest Radio <https://us.list-manage.com/AKIAzaNabaY?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> streaming 24/7 *THE LONG CONVERSATION* THE LONG CONVERSATION with Xav Leplae and Stephanie Barber is on indefinite hold. But... all episodes from the last year and a half are streaming!!! ___________________________________________________________________ Venue type: *Virtual, online event* 6x6 Project <https://us.list-manage.com/euKiAu231dH?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> streaming 24/7 *Artists' Moving Image Works* 6x6 project is an online artists' community that serves as a platform for disseminating artists' moving image works, and to create an ever-growing network among peers. There are now more than four hundred artists’ film and moving image works available to view on the website. ------------------------------ *Let us know about your alternative film/video event!* Enter your event announcements by going to the Flicker Weekly Listing Form <https://us.list-manage.com/7LqK3ZTXoqj?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> . To receive the weekly listing directly via email rather than through Frameworks, just hit Subscribe <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=091193278b&e=857b71a9cb> . ------------------------------ This Week in Avant Garde Cinema newsletter made possible with support from <https://us.list-manage.com/6BxVlK1ud5a?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> *Copyright © 2020 Flicker, All rights reserved.* Longtime recipient of This Week in Avant Garde Cinema This Week in Avant Garde Cinema · everywhere
-- Frameworks mailing list [email protected] https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org
