This week [April 15 - 22, 2018] in avant garde cinema <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3 &id=fa6446b05a&e=f36020cad0> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3 &id=d8ee9417fc&e=f36020cad0> This week [April 15 - 22, 2018] in avant garde cinema Enter your event announcements by going to the Flicker Weekly Listing Form <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3 &id=689f170102&e=f36020cad0> .
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Yes: Lili Chin / Gautam Kansara <#anchor6> [April 16, Brooklyn, New York] NEW CALLS FOR ENTRIES: Compassion Film Festival (Carbondale, CO, USA; Deadline: May 17, 2018) http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1976.ann <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3 &id=b8658ec6d2&e=f36020cad0> DEADLINES APPROACHING: Festival of (In)appropriation (Los Angeles, CA, USA; Deadline: May 01, 2018) http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1969.ann <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3 &id=d02df78de6&e=f36020cad0> 5th Annual Flamingo Film Festival (Fort Lauderdale, FL USA; Deadline: April 15, 2018) http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1974.ann <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3 &id=61419d4b2b&e=f36020cad0> Compassion Film Festival (Carbondale, CO, USA; Deadline: May 17, 2018) http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1976.ann <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3 &id=82a8beae44&e=f36020cad0> Events are sorted alphabetically BY CITY within each DATE. This week's programs (summary): * Lightning and Thunder: 16mm Films By Fern Silva <#anchor1> [April 15, Austin, TX] * Stan Brakhage: Life, Death, and the Elements <#anchor2> [April 15, Los Angeles, California] * Harun Farocki: Program 2 <#anchor3> [April 15, New York, NY] * The Films of Larry Gottheim: Program 5 <#anchor4> [April 15, New York, NY] * The Films of Larry Gottheim: Program 6 <#anchor5> [April 15, New York, NY] * Yes: Lili Chin / Gautam Kansara <#anchor6> [April 16, Brooklyn, New York] * The Films of Larry Gottheim: Program 7 <#anchor7> [April 16, New York, NY] * History, Memory, Texture: Material Inscriptions <#anchor8> [April 16, Oberlin, OH] * Note To Self: Films of Nazli DinÇel <#anchor9> [April 17, Baltimore, Maryland] * The Films of Larry Gottheim: Program 8 <#anchor10> [April 17, New York, NY] * Trans Film: To Speak, To Find: Program 1 <#anchor11> [April 18, New York, NY] * Trans Film: Near Futures <#anchor12> [April 18, New York, NY] * Traveling the Space Ways <#anchor13> [April 18, New York, New York] * Trans Film: Teknolust <#anchor14> [April 19, New York, NY] * Trans Film: FluidØ <#anchor15> [April 19, New York, NY] * School of Chairs: Your Eye Would Glide Over the Grey <#anchor16> [April 19, San Francisco, California] * Videons: visions Through Time, 1968–2018 <#anchor17> [April 19, San Francisco, California] * Bradley Eros Eros.Ion <#anchor18> [April 20, Brooklyn, New York] * Inexistent Time: A Retrospective of Malena Szlam <#anchor19> [April 20, Los Angeles, California] * Trans Film: Rukus <#anchor20> [April 20, New York, NY] * Trans Film: When This World Ends: Dandy Dust <#anchor21> [April 20, New York, NY] * Peripheral visions Program 1: Rhythm <#anchor22> [April 20, New York, New York] * Peripheral visions Program 2: Sequence <#anchor23> [April 20, New York, New York] * Through the Margin of Mirrors: A Lecture/Performance By Malena Szlam <#anchor24> [April 21, Los Angeles, California] * Ec: Stan Brakhage Pgm 2 <#anchor25> [April 21, New York, NY] * Trans Film: To Speak, To Find: Program 2 <#anchor26> [April 21, New York, NY] * Trans Film: Kate Bornstein Is A Queer and Pleasant Danger <#anchor27> [April 21, New York, NY] * Peripheral visions Program 3: Texture <#anchor28> [April 21, New York, New York] * Peripheral visions Program 4: Texture | Space <#anchor29> [April 21, New York, New York] * Peripheral visions Program 5: Space <#anchor30> [April 21, New York, New York] * X~Peri~Mental Animation: Colburn + Gallagher + Geiser + Quillian + <#anchor31> [April 21, San Francisco, California] * Harun Farocki: Program 3 <#anchor32> [April 22, New York, NY] * Trans Film: Pay It No Mind: &Quot;Archival Footage&Quot; As the Main Attraction <#anchor33> [April 22, New York, NY] * Trans Film: T4t: Films By Jules Rosskam <#anchor34> [April 22, New York, NY] SUNDAY, APRIL 15, 2018 4/15 Austin, TX: Experimental Response Cinema http://ercatx.org <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3 &id=077896f082&e=f36020cad0> 8pm, grayDUCK Gallery, 2213 E Cesar Chavez St LIGHTNING AND THUNDER: 16MM FILMS BY FERN SILVA FILMMAKER IN PERSON! Experimental Response Cinema is proud to welcome Fern Silva for an in-person screening of a selection of his 16mm works. With his distinct sonic and cinematographic language, Silva's films describe the hybrid mythologies of globalism. His films consider methods of narrative, ethnographic, and documentary filmmaking as the starting point for structural experimentation. Ride Like Lightning, Crash Like Thunder-2017-8.5mins: Framed within the vision of the Hudson River School and the legend of Rip Van Winkle, Ride Like Lightning, Crash Like Thunder unfolds as a storm approaches on the horizon. An uncertain future is in store as the creeping hand of history disrupts nature and civility in the Hudson River regions of Upstate New York. The Watchmen-2017-10mins.: In The Watchmen, pulsating orbs, panopticons, roadside rest stops, and subterranean labyrinths confront the scope of human consequences and the entanglement of our seeking bodies. Wayward Fronds -2015-13.5mins: Mermaids flip a tale of twin detriments, domiciles cradle morph invaders, crocodile trails swallow two-legged twigs in a fecund mash of nature's outlaws… down in the Everglades. Tender Feet-2013-10.5: Tender Feet was shot on the road in the southwest leading up to the not quite so cataclysmic and transformative events anticipated to take place around Dec. 21st 2012. As digits flipped on the odometer, so did the days in the Mayan calendar shedding light and darkness on charred forests, arid landscapes, falling stars, destructive vortexes, fortune telling traffic signs, and ticking time bombs… Concrete Parlay-2012-18mins.: Carried by the frenetic energy of a magic carpet, Concrete Parlay is a metaphysical flight that weaves among visual kernels of the anthropic and biological worlds. From prehistoric horseshoe crabs strewn among modern refuse, stoic pyramids foregrounded by golf course maintenance, mystic rituals evoking avian gestures, to contemporary political upheaval equalized by natural phenomena-the poetic equivalence among images transcends particular umwelten, as the disorienting whirl of the compass connotes the kinetic nature of existence. -Aily Nash Passage Upon the Plume-2011-6.5mins.: "Those who go thither, they return not again." Plumes dust the arid land, east to west, shapeshifting as they lift in ascension. Something lowers. An ark ran aground where revolution took root: ropes raise stones in baskets. Hearts heavier and lighter than the feather, permitted passage. Tethered or freed, resting from life or dawning anew. -Charity Coleman 4/15 Los Angeles, California: Filmforum http://www.lafilmforum.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3 &id=461609c50e&e=f36020cad0> 7:30 pm, Echo Park Film Center, 1200 N. Alvarado St. STAN BRAKHAGE: LIFE, DEATH, AND THE ELEMENTS Los Angeles Filmforum and Acropolis Cinema present Stan Brakhage: Life, Death, And The Elements New Restorations From The Academy Film Archive Sunday, April 15, 2018, 7:30 pm At the Echo Park Film Center, 1200 N. Alvarado St., Los Angeles CA 90026 All 16mm prints of restored films! With Mark Toscano and others in person. Touching on some of Stan Brakhage’s (1933-2003) most recurring and fundamental themes, this selection of five films pairs an early, celebrated masterpiece (Scenes From Under Childhood) and a truly monumental but neglected work made the year before his death (Panels for the Walls of Heaven). Three other short films - all distinctly visually striking and reflecting a palpable viscerality - balance out this program of new restorations from the Academy Film Archive, the majority appearing here in their first public screenings in the Academy’s new 16mm prints. INFO: www.lafilmforum.org , 323-377-7238 Tickets: $10 general; $6 students/seniors; free for Filmforum members. Available in advance at https://brakhagelife.bpt.me or at the door. 4/15 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3 &id=b4d41d2264&e=f36020cad0> 2:00 PM, 32 Second Avenue HARUN FAROCKI: PROGRAM 2 BEDTIME STORIES: SHIPS / EINSCHLAFGESCHICHTEN (1977, 3 min, 16mm-to-digital. In German with English subtitles.) AS YOU SEE / WIE MAN SIEHT (1986, 72 min, 16mm-to-digital. In German with English subtitles.) "[This] is an action-filled feature film. It reflects upon girls in porn magazines to whom names are ascribed and about the nameless dead in mass graves, upon machines that are so ugly that coverings have to be used to protect the workers' eyes, upon engines that are too beautiful to be hidden under the hoods of cars, upon labor techniques that either cling to the notion of the hand and the brain working together or want to do away with it. My film AS YOU SEE is an essay film. The contemporary opinion industry is like a huge mouth, or maybe a paper shredder. I compose a new text out of these scraps and thus stage a paper-chase. My film is made up of many details and creates a lot of image-image and word-image and word-word relationships among them. So there's a lot to chew on. I searched for and found a form in which one can make a little money go a long way." -Harun Farocki 4/15 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3 &id=fdbbdbdfe3&e=f36020cad0> 5:00 PM, 32 Second Avenue THE FILMS OF LARRY GOTTHEIM: PROGRAM 5 FOG LINE (1970, 10.5 min, 16mm, b&w) The fog lifts on a scene. The trees stand there, manifesting their being. They have a soft shape without outline. The power lines relate to drawing rather than painting, the controlling mind rather than the imagination. The viewer is invited to explore the screen, looking here and there, each person following a different path. DOORWAY (1970, 7.5 min, 16mm, b&w) Finally I moved the camera, in a slow pan from one side of the wide door of my wife's pottery studio to the other. The doorway separates inside from outside. There is a pulse of vision that emanates out from the camera, making a moving cow stand frozen behind another. NATURAL SELECTION (1983, 35 min, 16mm) Alfons Schilling uses his sculptural viewing devices to experience landscapes. My students film him. Translation issues lead us to think about glossolalia, speaking in tongues. We are invited to the laboratory of André Roch Lecours, who studies the relationship between glossolalia and the brain. I edited the film adding my own material. Alfons and Roch become avatars of my self. SORRY/HEAR US (1984, 8 min, 16mm) We deconstruct a poem's language by playing it backwards until some words emerge from the backward text. The students create images that illustrate this new text. Total running time: ca. 65 min. 4/15 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3 &id=84dfa755ea&e=f36020cad0> 7:30 PM, 32 Second Avenue THE FILMS OF LARRY GOTTHEIM: PROGRAM 6 THE RED THREAD (1987, 17 min, 16mm) My actual image appears as an ironic avatar of my real filmmaker self. It is challenged by a weaver with whom I fell into a relationship. The real me, the filmmaker me, is there, for example in the piano passages and above all with the children in the schoolyard, a ceremonial dance. TREE OF KNOWLEDGE (ELECTIVE AFFINITIES, PART 4) (1980, 60 min, 16mm) A documentary film about paranoid conditions is matched to a flow of images of an apple tree in my back yard filmed wildly and without forethought. The radical breaking of the previous passivity of the camera had deep psychological dimensions. Stockyard sounds are inserted, as are images of children from a film about the seasons. They are the ones who are learning and also part of the didactic mechanics of the film. So are the paranoid patients. MONDAY, APRIL 16, 2018 4/16 Brooklyn, New York: Microscope Gallery http://www.microscopegallery.com <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3 &id=26b7c7e0c4&e=f36020cad0> 7:30pm, 1329 Willoughby Avenue, #2B YES: LILI CHIN / GAUTAM KANSARA Screening night of videos by New York based artists Lili Chin and Gautam Kansara as part of the gallery’s series YES.The two artists, who have previously appeared in group screening programs presented by the gallery, not only work with single-channel works but have expanded their practices over the years to include split-screen and multiple channels as well as multi-media installation, often questioning and challenging the traditional concept of screen, incorporating various surfaces and textures including paper, glass, mulch, and others. Storytelling, memory, nature, and current affairs and post 9/11 politics in the context of personal history and culture are also areas of interest for both artists, who despite their similarities take different approaches in their works. Kansara frequently employs layering of imagery, revealed through erasure and other techniques involving the use of green screen, and incorporating actual conversations of himself with family members about various personal and political subject matters. Chin, on the other hand, remains behind the camera as an observer, recruiting friends as actors in some of the works, while in others animating or engaging with ceramics and artworks in other mediums by the artist. Many of her works are shot on film – Super 8mm and 16mm – and the materiality of the medium plays a critical role. Additional info & program www.microscopegallery.com. Nearest subway: Jefferson St. L (exit Starr St). 4/16 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3 &id=b441bffdee&e=f36020cad0> 7:30 PM, 32 Second Avenue THE FILMS OF LARRY GOTTHEIM: PROGRAM 7 BARN RUSHES (1971, 34 min, 16mm) I filmed a simple barn I passed every day using the fastest camera speed. The film is made of eight passes across the barn, each the length of a 100-foot roll of film. The repetition became a fruitful element. A miracle occurs at the end, as the foreground grasses seem to pass behind the barn. The film is a vision. MACHETE GILLETE… MAMA (1989, 45 min, 16mm) Filmed during three trips to the Dominican Republic. My interest in the superimposition of identities led to a focus on ceremonies that involved possession. While filming at a batey (a sugar workers' settlement), a friend made off with the rental car. He had an accident on a rural road. A Haitian worker on a motorcycle was killed. As part of a convoluted arrangement to spare him I said I had been the driver and so spent two days in jail. This was a major superimposition of my identity with his. A Dominican friend narrates a version of my experiences. The film is in no way a travel documentary. Many scenes reveal the cinematic ceremony outside the performed ceremonies. 4/16 Oberlin, OH: Oberlin College 7:00 PM, 91 N. Main St., Art Building, Classroom 1 HISTORY, MEMORY, TEXTURE: MATERIAL INSCRIPTIONS Screening of seven 16mm short films: David Gatten's What the Water Said Nos 1-3 (1998), Jodie Mack's Blanket Statement #2 (2013), Nina Fonoroff's Department of the Interior (1986), Kerry Laitala's Secure the Shadow... 'Ere the Substance Fade (1997), Jennifer Reeves's The Girl's Nervy (1995), Phil Solomon's Remains to be Seen (1989/1994), and David Gatten's Film for Invisible Ink, case no. 323: ONCE UPON A TIME IN THE WEST (2010). All films screened on 16mm. This evening will feature seven short films, all on 16mm, moving us from the tactile, physical world toward ephemeral, psychological, and interpersonal memory traces. From inscriptions of the sea engraved into film stock to 19th century stereoscopic images of pathology to family home movies swirling on the precipice of disappearance, these rarely screened films reflect on what is seen, how it takes shape, and what is remembered as it fades. TUESDAY, APRIL 17, 2018 4/17 Baltimore, Maryland: Sight Unseen http://sightunseenbaltimore.com <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3 &id=ff014150af&e=f36020cad0> 7:30pm, Parkway Theatre 3 NOTE TO SELF: FILMS OF NAZLI DIN&CCEDILEL An evening of visceral and provocative handmade films that explore bodies, acts of the solitary, text, language, visual information and personal exposure. Nazlı Dinçel’s work reflects on experiences of disruption. She records the body in context with arousal, immigration, dislocation and desire in juxtaposition with the medium’s material: texture, color and the passing of emulsion. Her use of text as image, language and sound attempts the failure of memory and her own displacement within a western society. TRT: 62 minutes 4/17 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3 &id=77c4a0124d&e=f36020cad0> 7:30 PM, 32 Second Avenue THE FILMS OF LARRY GOTTHEIM: PROGRAM 8 BLUES (1969, 8.5 min, 16mm) A close-up, unedited view of a bowl of blueberries and milk. A spoon enters and scoops up some berries, presumably to be eaten, until they are all gone. The milk, which is there from the beginning, manifests itself more and more as the berries are removed, and finally seems to rise up and become awash in the light generated when the camera roll is removed from the camera. This is my first real film; all the others rise out of it. YOUR TELEVISION TRAVELER (1991, 15 min, 16mm) The core material is space footage paired with audio of an intimate discussion with a Cuban woman. Then images taken in Cuba are superimposed with sounds from a documentary about space flight. Astronauts internalize an identity with the racist comic character of a Hispanic astronaut, Jose Jimenez, and Castro comes to power. Finally we see material from a TV series in which the "TV Traveler" speaks about the Florida turpentine industry, a counterpart to the sugar industry run by slaves and former slaves across the Caribbean. CHANTS AND DANCES FOR HAND (1991-2017, 40 min, digital) This work comprises material shot in Haiti. There are scenes of Vodou ceremonies, a violent uprising, of movie theaters, and images from my personal life that include my Haitian son Hand. The soundtrack is simply what accompanied the images. This is far from a "documentary" about Vodou. The ceremony of possession extends into politics, war, cooking, the movies, and the electronic nature of video. This is also a meditation on death. The most important dance takes place in the viewer's mind. Total running time: ca. 70 min. WEDNESDAY, APRIL 18, 2018 4/18 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3 &id=02d89c3ebb&e=f36020cad0> 6:45 PM, 32 Second Avenue TRANS FILM: TO SPEAK, TO FIND: PROGRAM 1 SELECTED FILMMAKERS IN PERSON! "To Speak, To Find" comprises two programs of short films that probe identity construction, embodiment, and the making and unmaking of the human form using language and words as both a surface and an undertone. Sky Hopinka's incomplete portrait of life at Standing Rock, DISLOCATION BLUES explores a two-spirit person's complex experience of occupying and leaving the camp. Filmmaker Chase Joynt and his Orthodox Jewish mother navigate silent secrets of a shared past in AKIN, while Dani and Sheilah Restack meditate on the viscerality of desire, fantasy, and national fear in STRANGELY ORDINARY THIS DEVOTION. Malic Amalya and Nathan Hill's VASELINE is a transfag treatise on the state of surveillance and the eroticization of resistance, and ANTHOLOGY FOR AN AMERICAN FOLK SONG approaches the paranoid mystical landscape of human desire as an investigation into genital construction and abject relationality. Sky Hopinka DISLOCATION BLUES (2017, 17 min, digital) Chase Joynt AKIN (2012, 8 min, digital) Dani and Sheilah Restack STRANGELY ORDINARY THIS DEVOTION (2017, 26 min, digital) Malic Amalya & Nathan Hill VASELINE (2016, 6 min, 16mm) Steve Reinke ANTHOLOGY OF AN AMERICAN FOLK SONG (2004, 29 min, digital) Total running time: ca. 90 min. 4/18 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3 &id=caafd1579f&e=f36020cad0> 9:15 PM, 32 Second Avenue TRANS FILM: NEAR FUTURES FILMMAKER MADSEN MINAX IN PERSON! "Near Futures" is a duet of mid-length films featuring THE YEAR I BROKE MY VOICE by Madsen Minax and CIRCLE IN THE SAND by Michael Robinson. Both films position groups of mystical beings amid crumbling landscapes, where they must forge for the leftovers of their previous cultures. Feel the breeze in your hair, and the world crumbling through your fingers. In the broken near future of Robinson's CIRCLE IN THE SAND, a band of listless vagabonds ambles across a war-torn coastal territory, supervised and sorted by a group of idle soldiers. These ragged souls conjure an unstable magic, fueled by their own apathy. Minax's THE YEAR I BROKE MY VOICE is based upon interpretations and reenactments from the 1980s coming-of-age films THE OUTSIDERS, STAND BY ME, and THE YEAR MY VOICE BROKE. Trans and gender-nonconforming adults occupy the roles traditionally reserved for the coming-of-age boy, to re-approach the master narrative of childhood's transition into adulthood from a subversive, yet altogether fragile and uncertain vantage point. Madsen Minax THE YEAR I BROKE MY VOICE (2012, 47 min, digital) Michael Robinson CIRCLE IN THE SAND (2012, 46 min, Super-16mm-to-digital) 4/18 New York, New York: Another Experiment by Women Film Festival http://anotherexperimentbywomenfilmfestival.com/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3 &id=6fddf55624&e=f36020cad0> 6 PM, Anthology Film Archives, 32 2nd Ave, New York, NY 10003 TRAVELING THE SPACE WAYS LIGHT PLAYS: Anne-Marie Bouchard; MUSIC: Lyne Goulet; 16mm to digi; Canada; 7.00; TSCHAIKA; M. Kardinal; Germany; 10.49; NATURE SPEAKS TO SELF. ONLY.; Ann Oren; Israel; 8.00; THE MAN IN THE BUSHES; Emma Piper-Burket and Vasilios Papaioannu; USA; 5:46; UUFO; Yun Chen; CHINA/USA; 21.00 THE CHTHULU AND THE FINAL GIRL; Animation by Meredith Drum; USA; 1:40 THURSDAY, APRIL 19, 2018 4/19 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3 &id=d0e320f704&e=f36020cad0> 7:00 PM, 32 Second Avenue TRANS FILM: TEKNOLUST GUEST CURATED AND PRESENTED BY S. H. VARINO DOUBLE LUST: PART 1: Lynn Hershman Leeson TEKNOLUST (2001, 82 min, 35mm-to-digital. With Tilda Swinton, Jeremy Davies, John O'Keefe, Josh Kornbluth, and Karen Black.) "Loneliness breeds strange bedfellows. Rosetta Stone (played to a timorous 't' by Tilda Swinton), a bashful biogeneticist, downloads her own DNA into an experimental A.I. program, creating a trio of Self-Replicating Automatons (SRAs). Olive, Marine, and Ruby (Swinton3) live in seclusion in a color-coordinated condo where they spend their time Web-surfing, mainlining protein, and being inundated by motivational tapes that shape their sense of the 'human.' Ensconced like priestesses in shimmering robes, the SRA sisters oscillate between machine superiority - 'We're self-replicating' - and devolution - 'When you are defensive and regressive you seem completely human.' Beyond their jacked-in consciousness, they yearn for attachments, but not the e-mail kind. Hershman Leeson has modified the gene for humor, creating a franken-farce wired for witticisms. Designed with sleek graphical interfaces, TEKNOLUST bodes of a future when we will rise through 'flesh, spirit' to 'soul, icon.' Yet the film is also about something more fundamentally human - the impulse to fill the world with progeny as a gesture of existence." -Steve Seid, PACIFIC FILM ARCHIVE 4/19 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3 &id=e203b9a716&e=f36020cad0> 9:15 PM, 32 Second Avenue TRANS FILM: FLUIDØ GUEST CURATED AND PRESENTED BY S. H. VARINO DOUBLE LUST: PART 2:Shu Lea Cheang FLUIDØ (2017, 99 min, digital) Set in the post-AIDS future of 2060, where the Government is the first to declare the era AIDS FREE, mutated AIDS viruses give birth to ZERO GEN - humans that have genetically evolved in a very unique way. These gender fluid ZERO GENs are the bio-drug carriers whose white fluid is the hypernarcotic for the 21st century, taking over the markets of the 20th century white powder high. The ejaculate of these beings is intoxicating and the new form of sexual commodity in the future. The new drug, code named DELTA, diffuses through skin contact and creates an addictive high. A new war on drugs begins and the ZERO GEN are declared illegal. The Government dispatches drug-resistant replicants for round-up arrest missions. When one of these government android's immunity breaks down and its pleasure centers are activated, the story becomes a tangled multi-thread plot and the ZERO GENs are caught among underground drug lords, glitched super agents, a scheming corporation, and a corrupt government. 4/19 San Francisco, California: San Francisco Cinematheque http://www.sfcinematheque.org <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3 &id=bbff1c5630&e=f36020cad0> 7:00, 500 Capp Street/The David Ireland House // 500 Capp Street, San Francisco, CA 94110 SCHOOL OF CHAIRS: YOUR EYE WOULD GLIDE OVER THE GREY Presented in association with The David Ireland House // Admission: $25 General Admission // Your eye, first of all, would glide over the grey… — George Perec // This screening is presented in the context of School of Chairs, the first group exhibition presented at The David Ireland House, on view February 17–June 9 . Curated by Bob Linder and Diego Villalobos, School of Chairs presents works in diverse media from a wide-ranging coterie of artists (including Forrest Bess, Jo Hanson, Los Jaichackers, K.r.m. Mooney, Anicka Yi and others) who “through expanding and redefining their respective mediums, have by consequence reshaped how we think about social and gender politics, the environment, and the role institutions play in shaping art history” while (in the spirit of David Ireland) creating relationships between artworks, domestic and non-domestic spaces, and devalued artifacts. In sympathetic resonance with this ambitious exhibition, Your Eye Would Glide Over the Grey presents film/video works which explore the secret lives of objects; the interplay of intimacy, identity and consciousness as modulated by constructed (and deconstructed) space; and conceptual contrasts between art and non-art objects. Program opener Ken Kobland’s The Toy Sun (2011) is a despairing ode to T.S. Eliot, Gordon Matta-Clark, old friends and the ravages of time. As counterweight, cryptic fragmentary works by Julia Dogra-Brasell (Mirror Without LIkeness, 2016) and Karissa Hahn (In Nothing Flat and Reveries, both 2013) talk back and question notions of completion and the fixity of identity. Jean-Paul Kelly’s Movement in Squares (2013) contrasts the eloquent expressivity of Bridget Riley with the devastation of 2011 home foreclosures, ruined lives and disgorged homes. Bettina Hoffmann’s choreographic Myopia foregrounds sounds in a strangely lush and attenuated interior while Coral Short’s similarly dance-like between us presents a polymorphous genderfuck fusion of flesh and furniture. Finally, Dana Berman Duff’s post-Warholian Catalogue Volume 10 (2017)—part of the artist’s ongoing post-Warholian examination of advertising and home decor—layers the cryptic text of Georges Perec’s Things: A Story of the Sixties (1965) over a tragically submerged flock of Arne Jacobsen knock-offs, a drowning flock of schooling chairs. (Steve Polta) 4/19 San Francisco, California: Exploratorium https://www.exploratorium.edu/visit/calendar/after-dark/april-19-2018 <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3 &id=0e6ae7e3e6&e=f36020cad0> 7:30 p.m., Pier 15 VIDEONS: VISIONS THROUGH TIME, 1968–2018 Featuring a retrospective and current work of pioneering video artist Steve Beck, we highlight the hypnotic and transcendent visuals created through analogue video synthesizers, live moment, and film/video hybrids. Beck will join us for a conversation about his work, vision, and the convergence of art and technology. Among the works to be shown are CYCLES and UNION, two video-film fusions recently acquired by The Smithsonian Museum of American Art for their permanent collection of The Moving Image. Featuring: Illuminated Music 1 (1972, 7 min.); SHIVA (1973, 4 min.); CYCLES (1974, 11 min.), co-directed by Jordan Belson; Video Weavings (1973–1976, 9 min.); UNION (1975, 10 min.); Video Ecotopia (1976 ,7 min.); Voodoo Child (1982, 8 min.); The Lone Breaker (1985, 5 min.); Bieru Nippon Part 2 (2012, 3 min.); NOOR (2011, 7 min.), part 1 of a trilogy. Excerpts from some of these works can be viewed at http://stevebeck.tv/clips.html. FRIDAY, APRIL 20, 2018 4/20 Brooklyn, New York: Microscope Gallery http://www.microscopegallery.com <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3 &id=e76a0936e4&e=f36020cad0> 7:30pm, 1329 Willoughby Avenue, #2B BRADLEY EROS EROS.ION A night of rare ephemeral cinema performance and films by Bradley Eros in connection with his current solo exhibition at the gallery “All that is solid melts into eros”. The works in the program, spanning nearly two decades – from “eros.ion” (1999), a shutter-less Super8mm projection performance, to Eros’ most recent and never-before-seen “Flick or Film” (2017) – revolve primarily around the artist’s investigation of film as an ephemeral, physical medium and the ways of transforming it to in effect extend its life, including through collaging, spray paint, burning, burial, and various manually activated means of projection. Among the other works in the program are Eros’ new iteration of his 2002 “Aurora Borealis” a cinematic homage to Joseph Cornell and Jean Painlevé shown this time in its original 16mm format with live foley and electronics soundtrack by Rachael Guma and Gabriel Guma (aka Gestalt Tone Color); “Liquid Crystal” (2000), a film-less projection performance with light beams passing through cut crystal drinking glasses, lenses, whiskey and water; and one of Eros’ best known works “burn (or, The 2nd Law of Thermodynamics)”, a video in which a found Super8mm filmstrip of 1970s bondage porn burns frame-by-frame as it is pulled through a damaged projector to a soundtrack from Martin Scorsese’s Taxi Driver. Eros will be available for Q&A following the screening and performance. Additional Info on artist and program notes: www.microscopegallery.com Jefferson St, L (exit Starr St) 4/20 Los Angeles, California: Filmforum http://www.lafilmforum.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3 &id=b1d6b73504&e=f36020cad0> 8:00 pm, Echo Park Film Center, 1200 N. Alvarado St. INEXISTENT TIME: A RETROSPECTIVE OF MALENA SZLAM Los Angeles Filmforum is pleased to present a retrospective of Chilean-born Montréal-based filmmaker Malena Szlam’s film works with the artist in attendance. Working in 35mm, 16mm, Super 8mm, and digital formats Szlam’s silent, poetic, and ethereal compositions explore notions of time, self, the natural world and materiality. Each of her films are meticulously assembled using a menagerie of techniques to physically alter the film elements resulting in dreamlike, collaged, flickering images leaving viewers with a sense of wonderment, displacement and an expanded sense of time. Szlam’s careful construction of her works serves to ground and guide viewers on a serene journey through these brief and powerful cinematic experiences. This is Szlam’s first retrospective in Los Angeles. Malena Szlam’s visit made possible by a generous grant from the Mike Kelley Foundation for the Arts. Tickets: $10 general; $6 students/seniors; free for Filmforum members. Available in advance at https://bpt.me/3375731 or at the door. 4/20 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3 &id=6007d6235c&e=f36020cad0> 7:00 PM, 32 Second Avenue TRANS FILM: RUKUS NYC PREMIERE! FILMMAKER IN PERSON! Brett Hanover RUKUS (2018, 87 min, digital) Brett Hanover's raw documentary/fiction hybrid film locates the queer coming-of-age story amid dated hotel furry conventions, steamy southern punk houses, and unending virtual worlds. Rukus is a 20-year-old furry artist living with his boyfriend Sable in the suburbs of Orlando, Florida. Through his sprawling graphic novels, Rukus constructs an imaginary universe where painful childhood memories are restaged as epic fantasies. Brett is a 16-year-old filmmaker with OCD trying to figure out his position in kinky subcultures. The two develop an unexpected online friendship which propels an exploration and reimagining of who they are and who they want to be. 4/20 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3 &id=8f141281d7&e=f36020cad0> 9:30 PM, 32 Second Avenue TRANS FILM: WHEN THIS WORLD ENDS: DANDY DUST Kelley Meister's short hand-drawn animation NOW I AM BECOME DEATH explores the queer realities of living in the nuclear age, while Ashley Hans Scheirl's DANDY DUST creates another dimension of crude sets and clay planets in the year 3075. In a cyberpunk, crustcore, stop-motion, and live-action coming-of-age extravaganza, the character Dandy Dust must go to different planets to boost his/her sex drive and defeat a depraved villain. Disparate characters and explicit scenarios pepper the narrative as a spider vagina humanoid named "SpiderCuntBoy" arrives, strange twins appear and disappear, and a scene featuring a giant strap-on drill pushes erotics and violence to the max. Ashley Hans Scheirl DANDY DUST (1998, 92 min, digital) Preceded by: Kelley Meister NOW I AM BECOME DEATH (2017, 8 min, digital) 4/20 New York, New York: Qubit https://qubitmusic.com/visions <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3 &id=95e4d430a6&e=f36020cad0> 7:00 PM, Project Q, 1850 Amsterdam Ave PERIPHERAL VISIONS PROGRAM 1: RHYTHM Emotive fragments, wayward gestures, and ephemeral music collide in the works of Abigail Child, Laure Prouvost, and Henry Hills. Expressive combinations of image, sound, and language fuse together and jolt in opposition, creating novel sensations and fractured narratives that expand the vocabulary of cinema. Screening will include SSS (1988, 5m) and Money (1985, 15m) by Henry Hills, Prefaces (1981, 10m), Mutiny (1983, 10m), and Mercy (1989, 10m) by Abigail Child, and Burrow Me (2009, 13m), It Heat Hit (2010, 7m) and How to Make Money Religiously (2014, 9m) by Laure Prouvost. Tickets: $7, available online at http://bit.ly/rhythmvisions. 4/20 New York, New York: Qubit https://qubitmusic.com/visions <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3 &id=5ca2a04cdc&e=f36020cad0> 9:00 PM, Project Q, 1850 Amsterdam Ave PERIPHERAL VISIONS PROGRAM 2: SEQUENCE Visceral cadences, stochastic data, oedipal loops, and vivid sequences abound in these works that interrogate the process of image making and the patterns that surround us. Featuring films by Peter Burr, Ryoichi Kurokawa, Thorsten Fleisch, Scott Stark, Martin Arnold, Peter Tscherkassky, Michael Fleming, iloobia, Julie Murray, Tomonari Nishikawa, and Jodie Mack. For a full listing of films and ticket information visit: http://bit.ly/sequencevisions (Tickets $7) The second screening of the Peripheral Visions Film Festival presented by Qubit. SATURDAY, APRIL 21, 2018 4/21 Los Angeles, California: Filmforum http://www.lafilmforum.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3 &id=4e06c08e4c&e=f36020cad0> 8:00 pm, Echo Park Film Center, 1200 N. Alvarado St. THROUGH THE MARGIN OF MIRRORS: A LECTURE/PERFORMANCE BY MALENA SZLAM Los Angeles Filmforum presents Through the Margin of Mirrors: a Lecture/Performance by Malena Szlam (with additional films to be announced) Saturday, April 21, 2018, 8pm At Echo Park Film Center, 1200 N. Alvarado St., Los Angeles CA 90026 With filmmaker Malena Szlam in person from Montréal! In this lecture/performance, Szlam will draw from her writing and personal visual film archive to compose an ephemeral re-enactment of her 2010 installation piece Through The Margin Of Mirrors. Fueled by experiences of displacement and migration between the Northern and Southern Hemispheres, Szlam will disclose aleatory links forged through dreams, language(s) and desire. An evening of reading and projection will form a vivid collage in dialogue with texts and recordings from friends, artists, and filmmakers. The performance will be followed by a special screening of short experimental works by international filmmakers, curated by Szlam. Details to be announced at the show. INFO: www.lafilmforum.org , 323-377-7238 Tickets: $5 general/students/seniors; free for Filmforum members. Available in advance at https://szlamperformance.bpt.me or at the door. 4/21 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3 &id=9c81a5d1d2&e=f36020cad0> 3:00 PM, 32 Second Avenue EC: STAN BRAKHAGE PGM 2 Unless otherwise noted, all films are silent. THE DEAD (1960, 11 min, 16mm) PASHT (1965, 5 min, 16mm) THREE FILMS: BLUEWHITE, BLOOD'S TONE, VEIN (1965, 10 min, 16mm) FIRE OF WATERS (1965, 10 min, 16mm, b&w, sound) THE HORSEMAN, THE WOMAN AND THE MOTH (1968, 19 min, 16mm) Total running time: ca. 60 min. 4/21 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3 &id=0204d8d5d4&e=f36020cad0> 5:00 PM, 32 Second Avenue TRANS FILM: TO SPEAK, TO FIND: PROGRAM 2 SELECTED FILMMAKERS IN PERSON! "STRANGER BABY is Lana Lin's exploration of the meaning of the term "alien" through fiction, non-fiction, and science fiction. In OPERATION INVERT, Tara Mateik exposes the absurdities of medical regulations that seem to fear gender outlaws as the new biological terrorists seeking weapons of mass bodily destruction. Vika Kirchenbauer's essay film LIKE RATS LEAVING A SINKING SHIP uses text from the DSM combined with intimate personal writings that reflect upon the nature of memory and the present interpretation of the past to question the possibility of any coherent narrative. Joey Carducci uses the language of film, feminism, and outtakes to come out to his longtime mentor in A VIDEO LETTER TO BARBARA HAMMER. Tiona Nekkia McClodden's THE LABYRINTH 1.0 revisits Brad Johnson's 1995 poem of the same title to create a poetic essay film exploring the HIV/AIDS crisis and surveillance culture. Zackary Drucker's AT LEAST YOU KNOW YOU EXIST uses the home of legendary performer Flawless Sabrina to tell a story of intergenerational companionship and trans legacy. Lana Lin STRANGER BABY (1995, 12 min, 16mm) Tara Mateik OPERATION INVERT (2003, 12 min, digital) Vika Kirchenbauer LIKE RATS LEAVING A SINKING SHIP (2012, 25 min, Super-8mm-to-digital) Joey Carducci A VIDEO LETTER TO BARBARA HAMMER (work in progress) (2017, 16 min, 16mm-to-digital) Tiona Nekkia McClodden THE LABYRINTH 1.0 (2017, 6 min, digital) Zackary Drucker AT LEAST YOU KNOW YOU EXIST (2011, 16 min, 16mm-to-digital) Total running time: ca. 90 min. 4/21 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3 &id=bf26c78c13&e=f36020cad0> 7:30 PM, 32 Second Avenue TRANS FILM: KATE BORNSTEIN IS A QUEER AND PLEASANT DANGER FILMMAKER IN PERSON! Sam Feder KATE BORNSTEIN IS A QUEER AND PLEASANT DANGER (2014, 73 min, digital) Performance artist and writer Kate Bornstein explodes binaries while deconstructing gender - and her own identity. Trans-dyke. Reluctant polyamorist. Sadomasochist. Recovering Scientologist. Pioneering gender outlaw. Sam Feder's playful and meditative portrait of Bornstein captures rollicking public performances and painful personal revelations as it bears witness to Kate as a trailblazing artist-theorist-activist who inhabits a space between male and female with wit, style, and astonishing candor. 4/21 New York, New York: Qubit https://qubitmusic.com/visions <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3 &id=189e66db48&e=f36020cad0> 1:00 PM, Project Q, 1850 Amsterdam Ave PERIPHERAL VISIONS PROGRAM 3: TEXTURE The screen is transformed into a surface, channeling a myriad of textures from vibrant fabrics, verdant fields, and prismatic crystallography to the materiality of the image itself: the film strip and the pixel. Featuring films by Jodie Mack, Maria Constanza Ferreira, Johan Rijpma, Jake Fried, Ryoichi Kurokawa, Peter Burr, Thomas de Rijk, Yoshihide Sodeoka, Sabrina Ratte, Nic Hamilton, Evan Boehm, Parag K. Mital, Mateo Amaral, Simon Liu, Thorsten Fleisch, and Sam Speckley. For a full listing of films and ticket information visit: http://bit.ly/texturevisions (Tickets $7) The third screening of the Peripheral Visions Film Festival presented by Qubit and programmed by Bernhard Fasenfest. 4/21 New York, New York: Qubit https://qubitmusic.com/visions <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3 &id=8fddb900aa&e=f36020cad0> 3:30 PM, Project Q, 1850 Amsterdam Ave PERIPHERAL VISIONS PROGRAM 4: TEXTURE | SPACE Explore the scenic hills of the Scottish Borders through stunning digital disintegration in Jacques Perconte’s mind-bending film “Ettrick”. “Slipping through poetry, between the brutality of matter and the sublime landscape, we experience a penetrating vision that embodies the stability of our deep desire to live in peace.” -- Jacques Perconte. For tickets visit: http://bit.ly/ettrickvisions (Tickets $7) The fourth screening of the Peripheral Visions Film Festival presented by Qubit and programmed by Bernhard Fasenfest. 4/21 New York, New York: Qubit https://qubitmusic.com/visions <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3 &id=1080af5eab&e=f36020cad0> 5:00PM, Project Q, 1850 Amsterdam Ave PERIPHERAL VISIONS PROGRAM 5: SPACE Portraits of interior and exterior spaces, exploring our visions of the city, our work, our dreams, and our selves. Featuring Films by Alan Warburton, Michael Robinson, Emily Drummer, Ryan Ferko, Parastoo / Faraz Anoushahpour, Kevin Jerome Everson, Zach Hart, Alexandra Wilson, Philippe Leonard, Jodie Mack, and Simon Liu. "R-15" by Kevin Jerome Everson and "Histories of Simulated Intimacy No. 1" by Emily Drummer will receive their New York Premieres. "Heart of a Mountain" by Ryan Ferko and Parastoo / Faraz Anoushahpour will receive its US Premiere and "Conenct Haven - Interior" by Zach Hart and Alexandra Wilson will receive its World Premiere. For tickets and more information: http://bit.ly/spacevisions (Tickets $7). The fifth and final screening of the Peripheral Visions Film Festival presented by Qubit and programmed by Bernhard Fasenfest. 4/21 San Francisco, California: Other Cinema http://www.othercinema.com/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3 &id=2766b8767b&e=f36020cad0> 8 PM, 992 Valencia Street X~PERI~MENTAL ANIMATION: COLBURN + GALLAGHER + GEISER + QUILLIAN + For the second of our SisPics diptych, we’ve assembled a veritable mothership of animators--almost all women—making this showcase a regular on OC calendars! Featured is the Cali debut of Martha Colburn’s Rotterdam-selected Western Wilds, her account of Karl May--the German writer who made the Western novel a fixture on European bookshelves--that turns into an auto-bio revelation of Martha’s own upbringing as a hick kid surrounded by guns. ALSO premiering are Kathleen Quillian’s (in person) Confidence Game, Kelly Gallagher’s Your Gossip, Ellie Vanderlip’s (in person) Egg Tree, Salise Hughes’ Eldorado, Leslie Supnet’s The Peak Experience, and the recent Silent Sister by none other than Janie Geiser! PLUS chestnuts from Helen Hill, Sally Cruikshank, and Mary Ellen Bute...and a couple from the boys--Ben Popp’s Sexy Noir and Winston Hacking/Andy Shauf’s The Worst in You. SUNDAY, APRIL 22, 2018 4/22 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3 &id=88fb0c6ca9&e=f36020cad0> 2:00 PM, 32 Second Avenue HARUN FAROCKI: PROGRAM 3 BEDTIME STORIES: BRIDGES / EINSCHLAFGESCHICHTEN (1977, 3 min, 16mm-to-digital. In German with English subtitles.) HOW TO LIVE IN THE FRG / LEBEN - BRD (1990, 79 min, 16mm-to-digital. In German with English subtitles.) Before the fall of the Berlin Wall, Farocki sharply dissects life in West Germany. Composed entirely of short scenes taken from instructional and training classes, the film reveals West Germany as a country where nothing happens without rehearsal, training, or preparation. "I filmed games, because games have rules and establish rules. There are all too few rules determining the speech and actions of people in documentary films today. […] The plasticity of life and work processes decreases everywhere. At the same time, more and more games are played which are intended to expose what lies hidden within human beings. The rules by which we are supposed to live are increasingly uncertain, and there are more and more games where life is trained, like a sport. Instruction manuals for life: in the commodity society, the instruction manual is the only record of theory." -Harun Farocki 4/22 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3 &id=471a70b5f2&e=f36020cad0> 5:00 PM, 32 Second Avenue TRANS FILM: PAY IT NO MIND: "ARCHIVAL FOOTAGE" AS THE MAIN ATTRACTION FILMMAKERS IN PERSON! For this program, films that have been cut into other features as "archival footage" are featured in their own right. Michael Kasino & Richard Morrison PAY IT NO MIND: THE LIFE AND TIMES OF MARSHA P. JOHNSON (2012, 54 min, digital) This documentary focuses on legendary transgender activist, Marsha "Pay It No Mind" Johnson, who was a Stonewall instigator, Andy Warhol model, drag queen, sex worker, and Saint. In Johnson's final interview before her death in 1992, Kasino and Morrison capture the queen of the revolution recounting her life at the forefront of the Stonewall Riots in the 1960s, the creation of S.T.A.R. (Street Transvestite Action Revolutionaries) with Sylvia Rivera in the 1970s, and her life as an activist in the New York City of the 80s and early 90s. Zavé Martohardjono CHANGING HOUSE (2009, 18 min, digital) Rusty and Chelsea are a transgender lesbian couple who, for fifteen years, opened their home to transgender women in need. Among these women was Stonewall veteran Sylvia Rivera, who spent the last years of her life there. The film celebrates the long and vibrant activist history of the house, the difficulties and triumphs of communal living, and the ongoing discrimination faced by the transgender community. 4/22 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3 &id=4fce5183fd&e=f36020cad0> 7:30 PM, 32 Second Avenue TRANS FILM: T4T: FILMS BY JULES ROSSKAM FILMMAKER IN PERSON! SOMETHING TO CRY ABOUT (2018, 12 min, digital. World Premiere!) In this film three transmasculine-identified people watch a movie or television show that makes them cry. The result is a touching and humorous short documentary that explores the difficulty of expressing intimacy between men, the complexities of desire, and the gift of a good cry. AGAINST A TRANS NARRATIVE (2009, 60 min, digital) In a genre-busting combination of intimate diary footage, stylized dramatic scenes, spoken word performance, faux audition tapes, and roundtable interview footage, Rosskam explores and initiates a dialogue between feminists, queers, and transfolk about the way we construct personal and historical narratives. Careful attention is given to the ways generation, race, class, and culture impact our understandings of gender. Let us know about your alternative film/video event! Enter your event announcements by going to the Flicker Weekly Listing Form <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3 &id=2f2f2b6586&e=f36020cad0> . To receive the weekly listing via email, send a message to Subscribe <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3 &id=e8b40fc58b&e=f36020cad0> . <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad 3&id=3539e9141a&e=f36020cad0>
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