<http://www.hi-beam.net/now.gif> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=fc0e72b7a6&e=f36020cad0> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=15d4682e3f&e=f36020cad0> This week [October 20 - 28, 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=32765cfae2&e=f36020cad0> . To receive the weekly listing via email: Subscribe <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=130bb049a1&e=f36020cad0> . <https://scontent-dfw5-1.xx.fbcdn.net/v/t1.0-9/43112857_2004459642909485_3529045473161641984_n.jpg?_nc_cat=102&_nc_ht=scontent-dfw5-1.xx&oh=f3ac61ebbba8b005c4b0c56170afd97c&oe=5C5B84B9> Connectivity Through Cinema Presents Field and Frame. W/ Bea Haut <> & Jenny Baines In Person. [October 21, Brooklyn, New York] <https://scontent-dfw5-1.xx.fbcdn.net/v/t1.0-9/41717144_10156640973895489_7650221792316882944_n.jpg?_nc_cat=101&_nc_ht=scontent-dfw5-1.xx&oh=553cfa212ad12e98f2fa457cbf8585cf&oe=5C50D107> A Salon With Lynne Sachs <> [October 25, San Francisco, CA] <https://www.lafilmforum.org/assets/Uploads/Screenings/_resampled/FitWyIyMzQiLCIxNjUiXQ/beavers-fromthenotebook.jpg> Still Light: Films By Robert Beavers <> [October 24, Los Angeles, California] NEW CALLS FOR ENTRIES: Coney Island Film Festival (Brooklyn, NY, USA; Deadline: June 07, 2019) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=fd9d1dfcba&e=f36020cad0> &readfile=1997.ann FRACTO Experimental Film Encounter (Berlin, Germany; Deadline: February 01, 2019) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=b34be8069a&e=f36020cad0> &readfile=1998.ann Experimental & Expanded Animation: Current Perspectives & New Directions (Farnham, Surrey, UK; 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This week's programs (summary): * Jean-Claude Rousseau's La Vallee Close <> [October 20, Brooklyn, NY United States] * Taiwan, Prog. 2: Experimental Shorts From the 1960s <> [October 20, New York, NY] * Taiwan, Prog. 3: I Didn'T Dare To Tell You <> [October 20, New York, NY] * Psycho-Geo3: Greta Snider's 3-D + Lana Caplan + Alex Coppola + <> [October 20, San Francisco, California] * Connectivity Through Cinema Presents Field and Frame. W/ Bea Haut <> & Jenny Baines In Person. [October 21, Brooklyn, New York] * Cc39 - Edward Kihn: Innovation / Degradation <> [October 21, Minneapolis, MN United States] * Taiwan, Prog. 4: the End of the Track <> [October 21, New York, NY] * Taiwan, Prog. 5: Experimental Shorts From the 1960s <> [October 21, New York, NY] * Not Sorry #3: Home <> [October 21, Portland, Oregon] * Black Maria Film Festival At University of Michigan - Ann Arbor <> [October 22, Ann Arbor, MI United States] * Visions | 22.10.18 | Stefano Canapa + L'abominable <> [October 22, Montréal] * Ec: Hugo / Jacobs / Levitt / Maas <> [October 22, New York, NY] * Nywift: Short Films <> [October 23, New York, NY] * Afa Members Only: 30th Anniversary In the 2nd Avenue Courthouse <> [October 23, New York, NY] * Still Light: Films By Robert Beavers <> [October 24, Los Angeles, California] * Still Light: Films By Robert Beavers <> [October 24, Los Angeles, California] * From Utopia To Queer Utopia <> [October 25, Brooklyn, NY United States] * Nature Preserves What the People Forget: the Films of Ute Aurand Part 1 <> [October 25, Los Angeles, California] * Portraits <> [October 25, New York, New York] * A Salon With Lynne Sachs <> [October 25, San Francisco, CA] * Ec: Tom, Tom, the Piper'S Son <> [October 26, New York, NY] * Ec: Larry Jordan <> [October 27, New York, NY] * Ec: Jennings / Kirsanoff <> [October 27, New York, NY] * Women's Work: Sachs/Olesker's <> "Washing" + Barbara Hammer's "Deren" + [October 27, San Francisco, California] * In and Around A House: Films By Ute Aurand and Margaret Tait, Part 2 <> [October 28, Los Angeles, California] * Not Sorry #4: Consumer <> [October 28, Portland, Oregon] SATURDAY, OCTOBER 20, 2018 10/20 Brooklyn, NY United States: Light Industry http://www.lightindustry.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=05001f7f19&e=f36020cad0> 7:00 PM, 155 Freeman St JEAN-CLAUDE ROUSSEAU'S LA VALLEE CLOSE La Vallée close, Jean-Claude Rousseau, 1995, digital projection, 143 mins. “Every shot (frame, image, light) of La Vallée close issues a roll of the dice, and casts into nothingness three-quarters of contemporary film—along with its directors of photography.” - Jean-Marie Straub, “Letter about La Vallée close” “La Vallée close emerged from different elements, and I was watching the elements orient themselves without being able to say where it was leading. These different vectors were converging at a single place and making the film itself this nexus: Petrarch, a geography book, a Giorgione painting, an erotic photo, an abandoned factory, the fountain at Vaucluse, and then inspiring correspondences between all these, as if validating them, the text by Lucretius on the movement of atoms, or more exactly, Bergson’s summary of it that he did in a book for philosophy students. But actually this film originated in the water of the Sorgue. There were a few deep-dive expeditions to find out where the water originates. That mystery is also at the heart of Petrarch’s poetry. And so these elements should hold our attention, produce a tension that’s going to orient everything towards the place of the film, whose subject will not reveal itself as a whole until its end.” - JCR 10/20 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=ab8b95d41a&e=f36020cad0> 5:30 PM, 32 Second Avenue TAIWAN, PROG. 2: EXPERIMENTAL SHORTS FROM THE 1960S This program includes five films by artists who were indirectly involved in the 1960s artistic experiments. Theatre Quarterly not only delivered the latest news regarding the Western art world, but also functioned as a platform for artists to present their new creations. Macao-born, Hong Kong-based film critic Law Kar and Hong Kong's renowned writer Xi Xi both served briefly as editor of Theatre Quarterly in the 1960s, in addition to making experimental films. Tom Davenport, an American independent filmmaker, spent years studying the Chinese language and culture in Taiwan, and was commissioned by National Geographic to film there. This program includes his first documentary, T'AI CHI CH'UAN, in which he filmed the philosopher Nan Huai-chin practicing Tai-chi on Taiwan's northeastern coast. The last two shorts provide an indirect view of the artistic achievements of Huang Hua-cheng, a pivotal figure who co-founded Theatre Quarterly and spearheaded the 1960s experimental movement in theater, film, and visual art. As none of Huang's video works have survived, the video documentation of the 1994 seminar "Theatre Quarterly and I," in which Huang played his 1967 film EXPERIMENT 002 in the original 8mm format, provides a glimpse of his own work, while THE PROPHET is a recent video remake of Huang's first experimental theater piece by artist Su Yu-hsien (born 1982). Law Kar ROUTINE (Hong Kong) (1969, 19 min, 16mm-to-digital) Xi Xi THE MILKY WAY (Hong Kong) (1968, 2 min, 16mm-to-digital) Tom Davenport T'AI CHI CH'UAN (USA) (1969, 10 min, 16mm-to-digital) EXPERIMENT 002 (1994, 39 min, VHS-to-digital) Su Yu-hsien THE PROPHET (2016, 20 min, DCP. In Chinese with English subtitles. This film was originally created as a two-channel video installation, but is presented here as a single-channel video.) Total running time: ca. 95 min. 10/20 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=475645bbff&e=f36020cad0> 8:00 PM, 32 Second Avenue TAIWAN, PROG. 3: I DIDN'T DARE TO TELL YOU Mou Tun-fei I DIDN'T DARE TO TELL YOU 1969, 78 min, 35mm-to-digital. In Chinese with English subtitles. Born in China in 1941, Mou Tun-fei moved to Taiwan in 1949. He declared that cinema would be his lifework while he was still an art school student. I DIDN'T DARE TO TELL YOU and THE END OF THE TRACK, both included in this series, are the only two feature-length films he made in Taiwan and are among the nation's first independent titles. Both films went unreleased, for unknown reasons, though rumor has it that the realistic depiction of a stifling society in I DIDN'T DARE TO TELL YOU and the hint of homosexuality in THE END OF THE TRACK could be to blame. Discouraged, Mou spent the following years traveling in Europe and South America before working in Hong Kong for Shaw Brothers Pictures, where he became known for making gory genre films. In I DIDN'T DARE TO TELL YOU, a primary school student secretly works a night job to pay off his father's gambling debts, and as a result constantly dozes off during his daytime classes. When the teacher investigates, a series of family disputes ensues. Though only a small number of people saw the film at private screenings upon its completion, its realistic style has nevertheless proven influential. One reel of the film remains lost, and the only available copy has an abrupt, inconsistent ending that was most likely imposed by the government for propagandistic purposes. Preceded by: Richard Yao-chi Chen THE MOUNTAIN (1966, 19 min, 16mm-to-digital. In Chinese with English subtitles.) 10/20 San Francisco, California: Other Cinema http://www.othercinema.com/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=8d2702daf9&e=f36020cad0> 8 PM, 992 Valencia Street PSYCHO-GEO3: GRETA SNIDER'S 3-D + LANA CAPLAN + ALEX COPPOLA + The second half of our Focus on Locus double-header features two world premieres—exquisite expanded cinema/retinal rivalry pieces by the Mission’s own Greta Snider, plus a timely revival of her epochal 16mm diary Portland, train-hopping with Ivy McClelland and Iggy Scam! Lana Caplan breaks away from her SLO college gig to unspool a NorCal debut, Patches of Snow in July (Hawaii volcano), as well as her earlier Maelstroms (Mexico border). Long-lost ally Alex Coppola flies in from Philly to not only open the show, but close it as well, with his world-class World Music vinyl selections, set to an absolutely sublime sampler of mid-20C personal travelogues—glorious Kodachrome shot in four sites, from East to West, across the Pacific—Hong Kong, Tahiti, the Andes, and the Amazon. As to marginal spaces in the US interior: Brea Weinreb debuts Framing History, a collective S8 remediation of home movies from Japanese internees in the Amache, Colorado camp. PLUS: Matt McCormick’s cautionary America Nutria, on a Southern mammal now munching on Coast rhizomes! *$8 SUNDAY, OCTOBER 21, 2018 10/21 Brooklyn, New York: MONO NO AWARE https://www.facebook.com/events/271292216832461/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=ff41eb82eb&e=f36020cad0> 7 pm , 33 Flatbush Ave CONNECTIVITY THROUGH CINEMA PRESENTS FIELD AND FRAME. W/ BEA HAUT & JENNY BAINES IN PERSON. Join Mono No Aware in welcoming artists Bea Haut of Film in Process and Jenny Baines (both in person!) and the work of Laura Hindmarsh for a special Connectivity Through Cinema screening++ Present both before and behind the camera, Baines, Haut and Hindmarsh use film structures and materiality to map out subjectivities, landscapes and consequent interlacing dialogues. Activating places and spaces, this program rebounds with echoes and absorptions, the self and the body, drawing perimeters and crossing them. The Connectivity Through Cinema : Artist-In-Person Screening Series is sponsored, in part, by the Greater New York Arts Development Fund of the New York City New York City Department of Cultural Affairs, administered by Brooklyn Arts Council (BAC). ($7 suggested) 10/21 Minneapolis, MN United States: Cellular Cinema 7:00 PM, 810 W Lake St CC39 - EDWARD KIHN: INNOVATION / DEGRADATION Edward Kihn’s work ranges across documentary, experimental cinema and moving image installation and focuses, particularly, on the political economy of technology as it manifests in various historical geographical contexts. The theme that connects the work in this short program is the entanglement of today’s techno-science and innovation with human and planetary degradation. He has received grants from organizations such as the New York Foundation for the Arts (NYFA), the Experimental Television Center (ETC) and the CUNY P.S.C., and has been a fellow at the Whitney Independent Study Program and the Art & Law Program. His work has been published in Journals such as Unweave and shown at venues such as Artists Space, the San Diego Museum of Art, Sculpture Center,Marginal Utility, the Artists Institute, Winnipeg Underground Film Festival, Athens International Film and Video Festival and the Copenhagen International Film Festival, (CPH:DOX). He teaches Film Studies at CUNY LaGuardia and CUNY John Jay Colleges in New York. 10/21 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=4360c622f1&e=f36020cad0> 5:15 PM, 32 Second Avenue TAIWAN, PROG. 4: THE END OF THE TRACK Mou Tun-fei THE END OF THE TRACK 1970, 91 min, 35mm-to-digital. In Chinese with English subtitles. Tong and Yong-sheng are inseparable playmates, but when Yong-sheng dies in a track training accident with Tong present, Tong feels heartbroken and guilt-ridden. Burdened by solitude after losing his best friend, Tong falls into a dark spiral. At the time, this film was banned due to its homosexual overtones. Some felt that certain segments drew comparison with the short story THE NOODLE STALL by Chen Ying-zhen, a key figure of Taiwan's 1960s literary movement who was imprisoned twice for "subversive activity." 10/21 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=71d8b4787d&e=f36020cad0> 8:00 PM, 32 Second Avenue TAIWAN, PROG. 5: EXPERIMENTAL SHORTS FROM THE 1960S This program presents films by five key figures, including filmmaker Pai Ching-jui (1931-97), painter Han Hsiang-ning (born 1939), photographers Chuang Ling and Chang Chao-tang, and designer Long Sih-liang (1937-2012). While the movement was short-lived these filmmakers went on to become well-established artists in their own disciplines. Pai, the first person from Taiwan to study film in Italy, built his reputation making classic melodramas and literary adaptations. Han, still active today, is a noted painter, while Chuang and Chang are two highly respected photographers in Taiwan, and Long created many memorable visual designs for films and books. The works in this program were either made as silent films or suffered damage to their soundtracks. This screening will be accompanied by a live musical performance by sound artist C. Spencer Yeh. Pai Ching-jui A MORNING IN TAIPEI (1964, 20 min, 35mm-to-digital) Han Hsiang-ning TODAY (1965, 4 min, 8mm-to digital) Han Hsiang-ning RUN (1966, 5 min, 8mm) Chuang Ling LIFE CONTINUED (1966, 14 min, 16mm-to-digital) Chuang Ling MY NEW BORN BABY (1967, 8 min, 16mm-to-digital) Chang Chao-tang MODERN POETRY EXHIBITION/1966 (1966, 12 min, 8mm-to-digital) Long Sih-liang GETTING READY FOR THE FESTIVAL (1967, 8 min, 8mm-to-digital) Total running time: ca. 75 min. 10/21 Portland, Oregon: Northwest Film Center http://www.nwfilm.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=f8d80db09d&e=f36020cad0> 7pm, Northwest Film Center's Whitsell Auditorium, 1219 SW Park Ave NOT SORRY #3: HOME Stories of political and social upheaval are often accompanied with typical media images of suffering or violence. But the resulting displacement, whether physical or psychological, can be an experience both individual and collective. People carry tradition and ritual across borders and time, but also within their own daily realities. How can such traumas, expressions of longing for a place that may not really exist, or even celebratory moments of finding home be represented? This third screening of "Not Sorry: Feminist Experimental Film from the 1970s to Today" pursues the general theme of home and how the female voice may call to it, reject it, or endure it. Included is Basma Alsharif’s "Home Movies Gaza" (2013), a view from a domestic space in one of the most contested territories in modern politics; Barbara McCullough’s "Water Ritual #1," a film ambiguously set in a demolished area of Watts that through performance expresses Black women’s ongoing struggle for spiritual and psychological space; and Yau Ching’s in-camera edited "Video Letters 1-3" (1993) that served as the nomadic Hong Kong video artist’s preferred mode of communication to the people she missed. MONDAY, OCTOBER 22, 2018 10/22 Ann Arbor, MI United States: Black Maria Film Festival 12:00 PM, 2000 Bonisteel Blvd BLACK MARIA FILM FESTIVAL AT UNIVERSITY OF MICHIGAN - ANN ARBOR THE 37th ANNUAL BLACK MARIA FILM FESTIVAL TOUR RETURNS TO THE STAMPS SCHOOL OF ART & DESIGN AUDITORIUM, UNIVERSITY OF MICHIGAN – ANN ARBOR, ON MONDAY OCTOBER 22ND AT 12:00PM. The program, hosted by Professor Heidi Kumeo, will be presented in-person by festival director Jane Steuerwald, and will showcase a collection of stellar works touring this season. Featured selections in Program 1 include “New York City Sketchbook,” by Willy Hartland, Brooklyn, NY; “Insecta,” by Ramey Newell, Vancouver, BC, Canada; and #TAKEMEANYWHERE, by Shia LaBeouf, Nastja Rönkkö and Luke Turner. On May 23rd, 2016, they embarked on a 31-day project to hitchhike through the use of the internet. They tweeted their GPS coordinates, along with the #TAKEMEANYWHERE hashtag, and waited for a ride. Whoever appeared had the opportunity to take them wherever they chose. Their path was entirely in the hands of the public. 10/22 Montréal: VISIONS http://www.visionsmtl.com <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=26e4636a03&e=f36020cad0> 20h, la lumière collective [7080, rue Alexandra, #506] VISIONS | 22.10.18 | STEFANO CANAPA + L'ABOMINABLE INNER JOURNEY IN PHOTOCHEMICALS LANDS: L'ABOMINABLE 2000-2018 [Works directed by and works programmed by Stefano Canapa] Filmmaker present. 16mm projection. 10/22 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=bca119e97e&e=f36020cad0> 7:00 PM, 32 Second Avenue EC: HUGO / JACOBS / LEVITT / MAAS Ian Hugo BELLS OF ATLANTIS (1952, 10 min, 16mm. Preserved by the Library of Congress through the Avant-Garde Masters program funded by The Film Foundation and administered by the National Film Preservation Foundation.) A film poem, based on Anaïs Nin's HOUSE OF INCEST, narrated by and featuring Nin. "[BELLS OF ATLANTIS was] inspired by the prologue to my HOUSE OF INCEST and the line: 'I remember my first birth in water.' The film evoked the watery depths of the lost continent of Atlantis. It is a lyrical journey into prenatal memories, the theme of birth and rebirth from the sea." -Anaïs Nin Ken Jacobs LITTLE STABS AT HAPPINESS (1959-63, 18 min, 16mm. With Jack Smith.) "Material was cut in as it came out of the camera, embarrassing moments intact. 100' rolls timed well with music on old 78s. I was interested in immediacy, a sense of ease, and an art where suffering was acknowledged but not trivialized with dramatics. Whimsy was our achievement, as well as breaking out of step." -Ken Jacobs Helen Levitt, Janice Loeb, and James Agee IN THE STREET (1952, 12 min, 16mm, b&w. Preserved by Anthology Film Archives.) "Informality is indeed the crucial and virtually definitive quality of IN THE STREET; it is even the guiding principle and vision. […] This is the extreme realization of a classic 'naturalistic' genre, the German 'street film,' where the street was imaged as the arena of the everyday and random, the channel in which the 'stream of life' conveniently became microcosmic." -Ken Kelman, THE ESSENTIAL CINEMA Willard Maas GEOGRAPHY OF THE BODY (1943, 7 min, 16mm, b&w. Preserved by Anthology with support from The National Film Preservation Foundation.) "The terrors and splendors of the human body as the undiscovered, mysterious continent." -Willard Maas Total running time: ca. 55 min. TUESDAY, OCTOBER 23, 2018 10/23 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=7b97964b62&e=f36020cad0> 7:00 PM, 32 Second Avenue NYWIFT: SHORT FILMS Molly McGaughey (Director), Cait Cortelyou (Writer/NYWIFT Member), Monique Hazeur (Writer/Art Director/NYWIFT Member), Katrina Medoff (Actor/Producer/NYWIFT Member) & Irina Chernikina (Editor/NYWIFT Member) THAT VERY EVENING 2018, 7 min, digital When a private detective receives a mysterious ticket in the mail, she can't help but investigate. A strange young woman says she's being watched, so the detective follows the lead - but not everything is as it appears. Daniel Ferry (Director) & Marzy Hart (Actor/Producer/NYWIFT Member) SLICE 2015, 18 min, digital Lily Drover led a typical city-dweller's life until she found her newest obsession: murder. Desperate to escape her mundane day-to-day life, she begins luring in the unsuspecting in a twisted, murderous spree to satisfy her dark desires. Geoffrey Guerrero (Director), Courtney J. Camerota (Writer/Producer/NYWIFT Member), Tanya Perez (Supporting Actor/NYWIFT Member), Kym Lukacs (Production Sound Mixer/NYWIFT Member) & Julia Parrott (Editor/NYWIFT Member) PREREQUISITE 2017, 11 min, digital A preppy college graduate gets more than she bargained for when she takes a risky second job to offset her student loan debt. Caralene Robinson (Director/Writer/Producer/NYWIFT Member) THE BILL 2017, 10 min, digital Lena and ten other women could not be more excited to celebrate Barbie's 35th birthday. When an unexpectedly huge bill arrives, the happy birthday dissolves into drama. Maria Bunai (Director/NYWIFT Member) & Tracy Daniels (Producer/NYWIFT Member) AFTER WORDS: THE OPPOSITE OF FOREPLAY 2016, 12 min, digital In this humorous take on the path to true love, Claire pursues a lasting relationship with a range of partners from charming to annoying to questionable. Tricia Paoluccio (Creator/Producer/Actor/NYWIFT Member), Kate Phelan (Director/NYWIFT Member) & Jeanine Bartel (Actor/NYWIFT Member) MOMMY BLOGGER 2018, 13 min, digital NYC housewife Addie wants to conquer the lucrative world of mommy blogs and become a celebrity, so she pressures her husband to quit his job to devote himself to their family culture and the making of videos. Shaina Feinberg (Director) & Liz Samuel (Writer/Producer/Actor/NYWIFT Member) MOMTRESS 2016, 12 min, digital A short film/pilot about a suburban mom juggling parenting and an acting career while also dealing with aging and loss. Total running time: ca. 90 min. 10/23 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=7c9adf6a8d&e=f36020cad0> 7:30 PM, 32 Second Avenue AFA MEMBERS ONLY: 30TH ANNIVERSARY IN THE 2ND AVENUE COURTHOUSE AFA MEMBERS ONLY - FREE SCREENING! 30TH ANNIVERSARY IN THE SECOND AVENUE COURTHOUSE Once every calendar we offer a special, AFA Members-Only screening, featuring sneak-previews of upcoming features, programs of rare materials from Anthology's collections, in-person filmmaker presentations, and more! The benefits of an Anthology membership have always been plentiful: free admission to over 100 Essential Cinema programs, reduced admission to all other shows, discounted AFA publications. But with these screenings - free and open only to members - we sweeten the pot even further. This fall's screening celebrates 30 years of Anthology Film Archives at the Second Avenue Courthouse building. Founded in 1970, AFA first opened at the Joseph Papp Public Theater, and later moved to a space in George Maciunas's Fluxhouse at 80 Wooster. But true stability only came with the acquisition in 1979 of the historic Second Avenue Courthouse. After nearly a decade of fundraising and renovation, we re-opened, in a re-conceived and much-expanded form, on October 12, 1988. To celebrate this milestone, we will be screening Robert Frank's C'EST VRAI (ONE HOUR), an unedited, real-time exploration of the East Village in 1990. Combining non-fiction documentation of the neighborhood and its denizens with staged encounters, the film includes a glimpse of the then-brand-new Anthology as well as appearances from local luminaries such as Taylor Mead, Bill Rice, Tom Jarmusch, and others. We'll supplement Frank's piece with "Strange to Meet You," the first of Jim Jarmusch's COFFEE AND CIGARETTES shorts, filmed in the upstairs lobby, as well as an excerpt from Jonas Mekas's recent diary-film portrait of the architect responsible for the Courthouse renovation, SCENES FROM THE LIFE OF RAIMUND ABRAHAM (2014), which opens with an unforgettable record of the feverish hours leading up to our official re-opening. Join us for this tribute to our home of three decades, as we prepare for the first major renovation to the building since 1988! Special thanks to Chris Chouinard (Park Circus) and Marian Luntz (Museum of Fine Arts Houston). Become a member at our box office, or at anthologyfilmarchives.org Robert Frank C'EST VRAI (ONE HOUR) 1990, 60 min, video. © Robert Frank, 1990, distributed by The Museum of Fine Arts, Houston. Preceded by: Jim Jarmusch COFFEE AND CIGARETTES: STRANGE TO MEET YOU (1986, 5 min, 35mm. With Roberto Benigni and Steven Wright.) Jonas SCENES FROM THE LIFE OF RAIMUND ABRAHAM (2014, ca. 6 min-excerpt, digital)Screening at 7:30. Reception at 7:00! WEDNESDAY, OCTOBER 24, 2018 10/24 Los Angeles, California: Filmforum http://www.lafilmforum.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=4597b0f969&e=f36020cad0> 8:00 pm, Downtown Independent, 251 S. Main Street, Los Angeles CA 90012 STILL LIGHT: FILMS BY ROBERT BEAVERS Robert Beavers in person! Robert Beavers is a master of 16mm personal filmmaking whose films are landmarks of independent cinema. Following his magnum opus 18-film cycle, My Hand Outstretched to the Winged Distance and Sightless Measure, Beavers released several works that are considered among the great films of recent decades. Beavers’ focus is on intimate spaces and how they reflect qualities of human character and life. His art is unsurpassed in its sensitivity to seemingly ordinary details, the astonishingly sensual sound and imagery, and its deep grounding in the classical arts. Tonight's program will feature two of Beavers' most celebrated films, including the Los Angeles premiere of the groundbreaking From the Notebook of... (1971/1998, 16mm) and the mid-career masterpiece The Stoas (1991-97, 16mm). Tickets: $12 general; for Filmforum members. Available in advance from Brown Paper Tickets at https://www.brownpapertickets.com/event/3630687 or at the door. 10/24 Los Angeles, California: Acroplolis Cinema https://www.acropoliscinema.com/robertbeavers <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=a7d7563fcc&e=f36020cad0> 8pm, 251 S. Main St STILL LIGHT: FILMS BY ROBERT BEAVERS Robert Beavers in person! Co-presented by REDCAT and Los Angeles Filmforum. Robert Beavers is a master of 16mm personal filmmaking whose films are landmarks of independent cinema. Following his magnum opus 18-film cycle, My Hand Outstretched to the Winged Distance and Sightless Measure, Beavers released several works that are considered among the great films of recent decades. Beavers’ focus is on intimate spaces and how they reflect qualities of human character and life. His art is unsurpassed in its sensitivity to seemingly ordinary details, the astonishingly sensual sound and imagery, and its deep grounding in the classical arts. Tonight's program will feature two of Beavers' most celebrated films, including the Los Angeles premiere of the groundbreaking From the Notebook of... (1971/1998, 16mm) and the mid-career masterpiece The Stoas (1991-97, 16mm). THURSDAY, OCTOBER 25, 2018 10/25 Brooklyn, NY United States: UnionDocs http://www.uniondocs.org <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=f2c1313ac0&e=f36020cad0> 7:30 PM, 322 Union Ave FROM UTOPIA TO QUEER UTOPIA Andrés Senra will present two works born out of his research about the city as a body where social, political and economical tensions are acting and being projected onto. Andrés' process involves a mixture of documentation, archive, fiction, reality and poetry. Auslandia: Paraiso, a performative work of speculative fiction, explores a utopian community that goes through a full civilization cycle ending up in violence. Kommune is a film about the Birth of a new city, based under the common interest of creating a utopia established on the most radical freedom. A project about the very concept of utopia, its limits and possibilities, in relation to the history of Western thought and literature. The Free Town of Christiania is a self-managed city of about 900 residents in Christianshavn district in the capital of Denmark, Copenhagen. Christiania proclaimed itself an independent community on September 26, 1970. The history of Christiania begins with the occupation of a military abandoned area by parents who were claiming for spaces where their children could play. Senra created a series of portraits about notions that should be considered when talking about how a community works: feelings, structure, empowerment, urbanity, architecture, design, dreams, nature, expectations, agreements, organization, fears and inside / outside the city. PROGRAM: Auslandia: Paraiso Andrés Senra, 12 min, 2009 Art Archive of a fictional postapocaliptic utopian community called “Auslandia”, Instalation is made from false documents as if they were real ones with photographies, video, and drawings. kommune: alter christiania Andrés Senra, 77 min, 2014 A human and landscape portrait of the free town of Christiania and its inhabitants; photography, video, watercolor. Total Runtime: 69 min 10/25 Los Angeles, California: Filmforum http://www.lafilmforum.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=484ce5ff0b&e=f36020cad0> 8:00 pm, Echo Park Film Center, 1200 N. Alvarado St., Los Angeles NATURE PRESERVES WHAT THE PEOPLE FORGET: THE FILMS OF UTE AURAND PART 1 Los Angeles premieres, with Ute Aurand in person! Los Angeles Filmforum is pleased to present the work of Berlin-based filmmaker Ute Aurand with the artist in attendance. Stemming from the lyrical tradition of diary filmmaking and artisanal practices, her active and playful films emphasize the natural and social worlds through intimate forms of portraiture. She gives distinct attention to the inner dialogues of thought and the tactile experiences of women. Considered as portraits, her subjects do not reside in isolation, but move in conversation with their surroundings and with the interactive circuits of the filmmaker. Her responsive handheld 16mm camerawork creates a palpable rhythmic sensibility, while her montage brings together disparate passages of change occurring in her own life and in the lives of her subjects. These screenings include the work of Scottish film poet Margaret Tait (1918–1999), an influential filmmaker for Aurand. Together these works draw upon the wanderings of daily life and the search for fleeting moments of presence, dropping a myopic intensification of experience in favor of an exuberant engagement with the world. Tickets: $10 general; $6 for students/seniors; free for Filmforum members. Available in advance from Brown Paper Tickets at https://uteaurand1.bpt.me or at the door. 10/25 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=82098cfe22&e=f36020cad0> 6 PM, Anthology Film Archives, 32 2nd Ave, New York, NY 10003 PORTRAITS FILMMAKERS in the HOUSE: Sarah Bliss & Muyassar Kurdi Featured FILMS: #29 ABYSS; Lili White; USA; TRANSIT(IVE); Sarah Bliss; USA; HIATUS; Vivian Ostrovsky; USA/ BRAZIL; LES CHEMINS BLEUS THE BLUE PATHS; muriel Montini; Actor: Karl Heil; France; COMPOSITION X1328; Music: Elia Shewionkova; Camara: Luis Rojas Luino;Russia/Mexico; MIX WILDFLOWER SEEDS; Federica Foglia; Canada; WHERE IS EVA HIPSEY?; Orla McHardy; Ireland; TRAVELLING; Muyassar Kurdi; MUSIC: Nicholas Jozwiak; USA 10/25 San Francisco, CA: Canyon Cinema http://www.canyoncinema.com <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=f3741dd723&e=f36020cad0> 7:30 PM, 16 Sherman St A SALON WITH LYNNE SACHS *** DOORS 7:00 PM *** *** SHOWTIME 7:30 PM *** Please join Canyon Cinema for the next installment of our Salon series with filmmaker and Canyon board member Lynne Sachs, who will be presenting A Biography of Lilith (1997). A prismatic and deeply personal meditation on the Lilith story, Biography freely mixes documentary portraiture and memoir, cabalistic text and original poetry, dramatization and impressionistic camerawork, sculpture and song. The evening will also feature a live reading by Lizzie Olesker, a New York-based playwright and co-director with Sachs on The Washing Machine (screening at BAMPFA on Wednesday, October 24th), as well as two feminist meditations on the body from the Canyon collection: Gunvor Nelson and Dorothy Wiley’s proto-punk assemblage, Schmeerguntz (1965), and Greta Snider’s quietly revelatory Blood Story (1990). --- A BIOGRAPHY OF LILITH (Lynne Sachs / 35min. / color / sound / 1997) In a lively mix of off-beat narrative, collage and memoir, A BIOGRAPHY OF LILITH updates the creation myth by telling the story of the first woman and for some, the first feminist. Lilith's betrayal by Adam in Eden and subsequent vow of revenge is recast as a modern tale with present-day Lilith (Cherie Wallace) musing on a life that has included giving up a baby for adoption and work as a bar dancer. Interweaving mystical texts from Jewish folklore with interviews, music and poetry, Sachs reclaims this cabalistic parable to frame her own role as a mother. “The true story of this not so mythical, mythic first female. Sachs' film conveys the real experience -- bloody and poetic -- of Lilith alive and now in every woman. Bravo! A film felt, imagined, and informed by life.” - Barbara Black Koltuv, Ph. D. Clinical Psychologist, Jungian Analyst, and Author of The Book of Lilith "Sachs' art for fusing documentary and experimental narrative is unquestionably enormous. In this new film, her combination of an interview with a friend, the myth of Lilith and beauteous images of things like jelly fish (which float like iridescent breasts on screen) culminates in stunning cinema." Molly Hankwitz, Art Papers ***WITH*** Lizzie Olesker reading from INFINITE MINIATURE, a solo play about motherhood, memory, and stories held in everyday objects. Lizzie is a New York City playwright and a recent collaborator with Lynne Sachs on the hybrid film THE WASHING SOCIETY which will screen at the PFA 10/24 and Other Cinema 10/27. ***AND*** SCHMEERGUNTZ (Gunvor Nelson & Dorothy Wiley / 15 min. / B&W / sound / 1966) "SCHMEERGUNTZ is one long raucous belch in the face of the American Home. A society which hides its animal functions beneath a shiny public surface deserves to have such films as SCHMEERGUNTZ shown everywhere - in every PTA, every Rotary Club, every club in the land. For it is brash enough, brazen enough and funny enough to purge the soul of every harried American married woman." - Ernest Callenbach, Film Quarterly Blood Story (Greta Snider / 3 min. / 1990 / color / sound / 16mm) BLOOD STORY is a simultaneous progression of three divergent tales; a soundtrack of eavesdropped "girltalk," a subtitled story of a troublesome spot, and a series of images that fluidly peruse the two. The pictures articulate the space between one threatening, and one intimate, experience of the same symbolic matter. "... cuts below the surface of sexual relations." - Ann Powers, SF Weekly FRIDAY, OCTOBER 26, 2018 10/26 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=58173e9e51&e=f36020cad0> 7:00 PM, 32 Second Avenue EC: TOM, TOM, THE PIPER'S SON by Ken Jacobs. "Original 1905 film shot and probably directed by G.W. 'Billy' Bitzer, rescued via a paper print filed for copyright purposes with the Library of Congress. It is most reverently examined here, absolutely loved, with a new movie, almost as a side effect, coming into being." -K.J. SATURDAY, OCTOBER 27, 2018 10/27 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=1b0ce477f5&e=f36020cad0> 5:00 PM, 32 Second Avenue EC: LARRY JORDAN DUO CONCERTANTES (1962-64, 6 min, 16mm, b&w) HAMFAT ASAR (1965, 13 min, 16mm, b&w) GYMNOPEDIES (1968, 6 min, 16mm) THE OLD HOUSE, PASSING (1966, 45 min, 16mm, b&w. Preserved by Anthology Film Archives.) OUR LADY OF THE SPHERE (1968, 9 min, 35mm) "With a taste for nostalgic romanticism…Jordan creates a magical universe of work using old steel engravings and collectable memorabilia. His 50-year pursuit into the subconscious mind gives him a place in the annals of cinema as a prolific animator on a voyage into the surreal psychology of the inner self." -Jackie Leger Total running time: ca. 85 min. 10/27 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=4f039d2603&e=f36020cad0> 7:15 PM, 32 Second Avenue EC: JENNINGS / KIRSANOFF Humphrey Jennings LISTEN TO BRITAIN (1941, 19 min, 35mm, b&w) Jennings's film is a masterpiece of sound mixing; it creates an audio landscape of Britain during the war, with images both accompanying and conflicting with the multitude of sounds. Dimitri Kirsanoff MÉNILMONTANT (1924-25, 38 min, 35mm, b&w, silent) "[T]o a remarkable degree, MÉNILMONTANT seems an autonomous creation, as sophisticated and demanding as any narrative film of the silent period, without obvious imitators. Although Richard Abel has astutely called attention to aspects the film shares with Abel Gance's LA ROUE (1923) and Leon Moussinac's LE BRASIER ARDENT (1923)…and with Jean Epstein's COEUR FIDELE (1923)…any comparison of the film as a whole with those admirable works would have to underline the intensity, uniqueness, and exceptional rigor of Kirsanoff's achievement." -P. Adams Sitney, THE CINEMA OF POETRY Total running time: ca. 60 min. 10/27 San Francisco, California: Other Cinema http://www.othercinema.com/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=9e45583771&e=f36020cad0> 8 PM, 992 Valencia Street WOMEN'S WORK: SACHS/OLESKER'S "WASHING" + BARBARA HAMMER'S "DEREN" + We’re tickled pink to welcome back prodigal daughter Lynne Sachs, here with Lizzie Olesker to anchor a program on women’s labor, both manual and intellectual. Sachs unspools her Carolee, Barbara, and Gunvor, about the ongoing cinema legacies of Ms. Schneemann, Hammer, and Nelson. That inspiring opener in fact leads us directly into a half-hour piece by the prolific Hammer, who HERSELF has honored another woman cultural worker of an earlier generation in Maya Deren’s Sink. With a soundtrack from Meredith Monk, Barbara’s cine-poem re-captures Maya’s concepts of light, space, and time via projections on her original bathroom sink(!) and the walls of her LA and NY homes. Then, Lynne and Lizzie’s The Washing Society shifts the focus to the physical labor in the neighborhood laundromat, a site rife with the history of service, and of immigration, in a disappearing public space. SUNDAY, OCTOBER 28, 2018 10/28 Los Angeles, California: Filmforum http://www.lafilmforum.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=19a27c91d6&e=f36020cad0> 7:30 pm, Echo Park Film Center, 1200 N. Alvarado St., Los Angeles IN AND AROUND A HOUSE: FILMS BY UTE AURAND AND MARGARET TAIT, PART 2 For this second screening, two longer works by Margaret Tait and Ute Aurand are paired. In their breadth and structure, these films give a sense of how these filmmakers cultivate a working practice that prizes the immediate details felt around them. These screenings include the work of Scottish film poet Margaret Tait (1918–1999), an influential filmmaker for Aurand. Together these works draw upon the wanderings of daily life and the search for fleeting moments of presence, dropping a myopic intensification of experience in favor of an exuberant engagement with the world. A Place of Work, by Margaret Tait (1976, 16mm, color, sound, 30 min.) and Terzen, by Ute Aurand (1998, color, sound, 50 min.) Tickets: $10 general; $6 for students/seniors; free for Filmforum members. Available in advance from Brown Paper Tickets at https://uteaurand2.bpt.me or at the door. 10/28 Portland, Oregon: Northwest Film Center http://www.nwfilm.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=82690c8b04&e=f36020cad0> 7pm, Northwest Film Center's Whitsell Auditorium, 1219 SW Park Ave NOT SORRY #4: CONSUMER Our fourth and final installment in the series "Not Sorry: Feminist Experimental Film from the 1970s to Today." Critiquing popular culture by re-appropriating found footage source materials or by restaging stereotypes are common strategies in the experimental film genre. Since popular media has both constructed and echoed stereotypes of women, what better way to reclaim, talk back to, examine, and of course make fun of these manufactured and unrealistic identities? Exploring the general theme of consumerism (as consumers of media, ideas, and products) is another set of international filmmakers who engage directly with media or their false representations of women and their desires. Included is Gunvor Nelson’s "Take Off" (1972), that starts as a typical strip-tease film but with a surprise ending; Akosua Adoma Owusu’s "Intermittent Delight" (2007), which combines textiles and the Ghanaian men and women who make them with clips of 1960s Westinghouse commercials on the how-tos of refrigerator decoration; and work from two local filmmakers, Vanessa Renwick’s "Toxic Shock" (1983), which combines intimate taboos of needles, blood, and tampons, and Ariella Tai’s "She’s Not Gonna Get More Dead" (2018), that with its crunchy, juicy soundtrack and sourced images of black women vampires meditates on death, desire, and what makes someone more than dead. //// Filmmakers Ariella Tai, Vanessa Renwick, and Jennifer Chan will be in attendance for a post-screening discussion. _____ Let us know about your alternative film/video event! 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