<http://www.hi-beam.net/now.gif> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=bda2b0de80&e=f36020cad0> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=fae571cdab&e=f36020cad0> This week [March 9 - 17, 2019] 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=558c0dc140&e=f36020cad0> . To receive the weekly listing via email: Subscribe <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=d6d8a9978e&e=f36020cad0> . <https://www.lafilmforum.org/assets/Uploads/Screenings/_resampled/FitWyIyMzQiLCIxNjUiXQ/chums-smaller.jpg> Jim Finn: Comedic Laments <> [March 10, Los Angeles, California] <https://scontent-sjc3-1.xx.fbcdn.net/v/t1.0-9/53283321_2313532352042313_4367177335607132160_n.jpg?_nc_cat=102&_nc_ht=scontent-sjc3-1.xx&oh=5265897a0ea940d640a7cc00efebbf0f&oe=5CDB36FC> Light Industry At Metrograph: Bad Girls Go To Hell + the Deadman <> [March 16, New York, NY United States] NEW CALLS FOR ENTRIES: Microscope Gallery (Brooklyn, NY; Deadline: March 31, 2019) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=8044fac081&e=f36020cad0> &readfile=2021.ann 6th Annual Flamingo Film Festival (Fort Lauderdale, FL USA; Deadline: April 01, 2019) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=16c257f47e&e=f36020cad0> &readfile=2022.ann Braziers Mini Indi Film Festival (Oxfordshire, UK; Deadline: March 31, 2019) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=4dea35046b&e=f36020cad0> &readfile=2023.ann 25 FPS Festival (Zagreb, Croatia; Deadline: May 31, 2019) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=7eac72385c&e=f36020cad0> &readfile=2024.ann DEADLINES APPROACHING: Magmart Festival XI edition (Naples, Italy; Deadline: April 07, 2019) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=4f707197e1&e=f36020cad0> &readfile=2003.ann Laterale Film Festival (Cosenza, Southern Italy; Deadline: March 31, 2019) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=845ef8e00e&e=f36020cad0> &readfile=2006.ann 9th Cairo Video Festival (Egypt; Deadline: March 20, 2019) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=eec8f5c06e&e=f36020cad0> &readfile=2018.ann Microscope Gallery (Brooklyn, NY; Deadline: March 31, 2019) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=c8cbe88457&e=f36020cad0> &readfile=2021.ann 6th Annual Flamingo Film Festival (Fort Lauderdale, FL USA; Deadline: April 01, 2019) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=8aaa886f4d&e=f36020cad0> &readfile=2022.ann Braziers Mini Indi Film Festival (Oxfordshire, UK; Deadline: March 31, 2019) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=1d5917a0c8&e=f36020cad0> &readfile=2023.ann Events are sorted alphabetically BY CITY within each DATE. This week's programs (summary): * Nyc Feminist Film Week 2019: Program 6: vivid Glances <> [March 9, New York, NY] * Nyc Feminist Film Week 2019: Program 7: Here Come the Ecosexuals! <> [March 9, New York, NY] * Sub Frequency's <> "Ouyala's Wedding" [March 9, San Francisco] * Cut It Up: Kelly Gallagher <> &Amp; Kelly Sears [March 10, Brooklyn, NY United States] * Jim Finn: Comedic Laments <> [March 10, Los Angeles, California] * Piedra Y PáJaro, Film A By Volga [Madrid Premiere] <> [March 10, Madrid (Spain)] * Nyc Feminist Film Week 2019: Program 8: Object Subject <> [March 10, New York, NY] * Woman With A Camera: Female Filmmakers From the Bauhaus <> [March 11, Cambridge, Massachusetts] * Ismo Ismo Ismo <> [March 11, Madrid] * Sfai Film Department X Canyon: Curt Mcdowell With Mark Ellinger <> [March 11, San Francisco, CA United States] * Flaherty Nyc: Program 5: the Puzzle Without An Answer <> [March 12, New York, NY] * Ismo Ismo Ismo <> [March 13, Madrid] * Take It Down! <> [March 14, Brooklyn, NY United States] * Babette Mangolte: the Sky On Location <> [March 14, Los Angeles, California] * Jean-Luc Godard's the Image Book March 15 - 23 <> [March 15, Cambridge, Massachusetts] * Babette Mangolte: Dance/Art/Film <> [March 15, Los Angeles, California] * Light Industry At Metrograph: Bad Girls Go To Hell + the Deadman <> [March 16, New York, NY United States] * Rr <> [March 16, New York, NY] * Wood+Favorite+Buchanan/Gatewood <> [March 16, San Francisco] * Honoring Peter Mays, Los Angeles Treasure, Part 1 <> [March 17, Los Angeles, California] SATURDAY, MARCH 9, 2019 3/9 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=3dd95cfa07&e=f36020cad0> 6:00 PM, 32 Second Avenue NYC FEMINIST FILM WEEK 2019: PROGRAM 6: VIVID GLANCES Guest programmed by Patricia Silva. Amy J. Xu, David J. Cork, and H. "Herukhuti" Sharif Williams in person.Illuminating the nuances and complexities of bi+ lives from a variety of perspectives shaped in Canada, England, Mexico, and the U.S., this program addresses a broad range of themes including poly, trans, femme, and genderqueer identities, coming out stories and childhood romance, abandonment and belonging, racism and biphobia, toxic masculinity and drag performance. The program closes with the 1983 classic FRIDA KAHLO AND TINA MODOTTI by Laura Mulvey and Peter Wollen, an unconventional portrait of two radical women artists working throughout the upheavals of the aftermath of the Mexican Revolution. Challenging our expectations of how queerness is depicted on screen, these films show how structural and social patterns of resistance have been produced within the bi+ spectrum across multiple historical and cultural contexts. Proceeds from this screening will be donated to BiNet USA, the largest national advocacy group in the U.S. fostering community, support, visibility, and education about bisexuality. Amy J. Xu OPEN RECESS (2016, 3 min, digital) Lynx Sainte-Marie WAY HOME (2017, 6 min, digital) Alexandra Hanson MAALIK EVANS FOR #STILLBISEXUAL CAMPAIGN (2015, 3 min, digital) Liberty Antonia I FEEL FEMME (2016, 9 min, digital) Shelby Zoe Coley MANLY STANLEY TAKES NEW YORK (2017, 6 min, digital) Nicole Kristal ROBERT LAWRENCE FOR #STILLBISEXUAL CAMPAIGN (2015, 3 min, digital) David J. Cork & H. "Herukhuti" Sharif Williams NO HOMO | NO HETERO: SEXUAL FLUIDITY AND MANHOOD IN BLACK AMERICA (2019, 12 min, digital) Neelu Bhuman MORE LOVE. LESS PREPACKAGED BULLSHIT (2017, 1.5 min, digital) Laura Mulvey & Peter Wollen FRIDA KAHLO AND TINA MODOTTI (1983, 30 min, 16mm) Total running time: ca. 80 min. 3/9 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=e9ddc2c921&e=f36020cad0> 8:30 PM, 32 Second Avenue NYC FEMINIST FILM WEEK 2019: PROGRAM 7: HERE COME THE ECOSEXUALS! Beth Stephens in person.With a poetic blend of curiosity, humor, sensuality, and concern, WATER MAKES US WET chronicles the pleasures and politics of H2O from an ecosexual perspective. Travel with ecofeminist icons Annie Sprinkle and Beth Stephens, and their dog Butch, in their E.A.R.T.H. Lab mobile unit as they explore the role of water. Ecosexuality shifts the metaphor "Earth as Mother" to "Earth as Lover" to create a more reciprocal and empathetic relationship with the natural world. Along the way, Annie and Beth interact with a diverse range of folks including performance artists, biologists, water treatment plant workers, scholars, and others, climaxing in a shocking event that reaffirms the power of water, life, and the earth. Annie Sprinkle & Beth Stephens WATER MAKES US WET: AN ECOSEXUAL ADVENTURE (2017, 75 min, digital) [PLEASE NOTE: We regret to announce that Annie Sprinkle will not be able to attend the screening in person as originally expected. Co-director Beth Stephens will still be here however.] 3/9 San Francisco: Other Cinema http://www.othercinema.com/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=c18198ea6c&e=f36020cad0> 8pm, 992 Valencia Street SUB FREQUENCY'S "OUYALA'S WEDDING" By popular demand after a sold-out Mississippi Records show, RMI’s Cyrus Moussavi returns to our gallery to premiere the long-awaited Ouyala’s Wedding, co-directed with Hisham Mayet—Sublime Frequencies’ intimate look into a truly splendid Western Saharan nuptial celebration. The bride happens to be the daughter of a legendary musician family (Group Doueh), so this ceremony marks the most ‘musical’ in memory. From Morocco himself, Mayet had unprecedented access to this desert rite, respectfully bringing in the cameras to record details never before seen outside of the region. As to Moussavi, well, this trooper has trekked tens of thousands of miles across the globe in an effort to record ethnic musics before they are forever rendered extinct. Tonight he introduces some 40 mins of material from many remote locations, including sweet songs from Kurdistan, lovely lyricism from Kenya, stunning scenes from Mongolia, folk performances from Burma, and even finger-picking from Cambodia.*$9 SUNDAY, MARCH 10, 2019 3/10 Brooklyn, NY United States: UnionDocs http://www.uniondocs.org <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=2bb57f5fa1&e=f36020cad0> 7:30 PM, 322 Union Ave CUT IT UP: KELLY GALLAGHER & KELLY SEARS UnionDocs is excited to bring together the works of animators Kelly Gallagher and Kelly Sears to unpack how collage can be a form of intervention. Though their specific practices vary widely, both Gallagher and Sears cut it up to challenge institutional records and to imagine other possibilities. Gallagher’s handcrafted approach engages animation as a radical and feminist practice of accessible resistance, using craft materials such as glitter, paint, scissors and decorative papers to weave personal, political, and historical accounts of perseverance, defiance and struggle. Sears’ collage style reframes imagery of American archetypes and institutions to reimagine our own social and political legacies and futures, harnessing identifiable cultural and collective narratives while concurrently untethering this identification enough to engage other histories and experiences. PROGRAM: More Dangerous Than a Thousand Rioters 6 min, 2016, Kelly Gallagher An experimental animated documentary exploring the powerful and inspiring life of revolutionary Lucy Parsons. The Drift 8 min, 2007, Kelly Sears A mysterious disappearance on a 1960s space journey launches the counter-culture revolution, the government blocks contraband radio broadcasts, and American fervor for conquering space goes too far. Psychedelic Rock, wayward space transmission, underground happenings, the space race, and out of body levitation are part of a condition known as The Drift. After Fall 3 min, 2018, Kelly Sears A version of how the following year can unfold, put into motion before the confirmation vote occurs. My Gossip 15 min, 2018, Kelly Gallagher A live action animated essay that explores the importance of women’s close friendships. Pearl Pistols 3 min, 2014, Kelly Gallagher A glitter-bomb resurrection of a speech by Queen Mother Moore. Voice on the Line 7 min, 2009, Kelly Sears Enchanting operators, covert government plots, Cold War paranoia and ordinary telephones forever changed how we got in touch with one another. Voice on the Line is a collage animation made from figures cut out of archival ephemeral films from the late 1950s. This animation mixes the history of these films with events of this era which results in a large scale secret operation that veers bizarrely off course. The film also reflects on current and troubled relationships between the areas of national security, civil liberties and telephone companies. Voice on the Line explores how technology can be used to shape our fears, desires and how we feel connected. Photographs From My Father 14 min, 2014, Kelly Gallagher An animated and found footage personal essay film, exploring the relationship between my Father and Uncle, amid old photographs and sports stories. A preservation of memories and example of self care through art production. Applied Pressure 6 min, 2018, Kelly Sears Sequential images sourced from dozens of massage books are activated to reflect on recent public conversation from this past year surrounding bodies, massage, and assault. Pattern for Survival 7 min, 2015, Kelly Sears Pattern for Survival channels the frenetic energy and aggression of security and preparedness. Speculative threats are rendered as routine directives. 70 min 3/10 Los Angeles, California: Filmforum http://www.lafilmforum.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=351a1591e1&e=f36020cad0> 7:30 pm, Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd. JIM FINN: COMEDIC LAMENTS Filmforum welcomes back filmmaker Jim Finn with LA premieres of two of his latest indefinable humorous experimental works, along with two golden not-so-oldies. “Chums from Across the Void” is the newest self-help phenomenon, guiding us from a post-Trotskyite position to deal with corporate capitalism. “The Drunkard’s Lament” is an epistolary musical from the vantage point of little known Brontë brother Branwell (a real person), his views on how sister Emily should revise the draft of her novel Wuthering Heights, and his difficult livelihood after the husband of his mistress died, all in the form of a reconstructed lost 1898 film version of the novel. (Branwell himself died in 1848, followed a few months later by Emily.) The film, constructed on hand-made emulsion, is a black & white work of beauty. Along with the haunting “might-have-been” found footage recap of “Decision ‘80” and the unremitting delight of “wüstenspringmaus”, Finn continues his unique merging of humor, history, politics, propaganda, and savvy understanding of media history. 3/10 Madrid (Spain): Cine Estudio - Círculo de Bellas Artes de Madrid http://www.circulobellasartes.com/ciclos-cine/peliculas/piedra-y-pajaro/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=50bed4ca30&e=f36020cad0> 19:30, Calle del Marqués de Casa Riera, 4, 28014 Madrid PIEDRA Y PáJARO, FILM A BY VOLGA [MADRID PREMIERE] PIEDRA Y PÁJARO, a film by Volga 61' – DCP – 24fps – Color – Stereo – Spanish 2003-2015 – Spain/Germany/Lebanon Synopsis: Han pasado los años y aún viene a verla. Todo es placer aquí, todo es viaje. Mañana empieza un nuevo verano ¿quieres jugar otra vez? About Volga: The Volga is the longest river in Europe. We are boatmen sailing it incessantly up and downstream in search of some music. But we know, as every fool does, that no one can sail twice on the same waters. And so, we have no biography. Volga is a river called the river of no return. Trailer: https://volga.works/Stone-and-Bird-Piedra-y-Pajaro 3/10 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=9ce429b60b&e=f36020cad0> 6:00 PM, 32 Second Avenue NYC FEMINIST FILM WEEK 2019: PROGRAM 8: OBJECT SUBJECT Guest programmed by Maya Suess.Ayana Evans, Sara Jimenez, Jaguar Mary, Caroline Partamian, Zina Saro-Wiwa, Abbey Williams, Jade Yumang & Eleni Zaharopoulos in person.For this program, a visual and auditory exploration of the tactile, the viewers will be invited as they enter the cinema to select an object to hold for the duration of the screening. We are material creatures who encounter the tangible world through our physical senses, and we get to know our environment and ourselves through tactile experiences. Objects help us contextualize ourselves in the world, they bring us together, they help us express thoughts and ideas, they define us. This program presents works by visual artists, performance artists, and filmmakers exploring ideas of family, community, self, and sexuality through the objects around them. Abbey Williams PUCE MOMENT, WITH LOVE (2006, 6.5 min, digital) Anna Linder CUM PANE - THE ONE YOU SHARE YOUR BREAD WITH (2002, 8 min, digital) Jaguar Mary PERSONAL GEOMETRY (2012, 8 min, digital) Caroline Partamian ASMR HAND MOVIES (2018, 1.5 min, digital) Chun Hua Dong EVERYWHERE AND ALL AT ONCE (2017, 7 min, digital) Ayana Evans & Zina Saro-Wiwa PARASOL (2016, 14.5 min, digital) Jade Yumang & Sara Jimenez BRIDLED DANCE (2016, 6.5 min, digital) Julia Feyrer THE ARTIST'S STUDIO (2010, 5 min, 16mm) Maria Hupfield THE ONE WHO KEEPS ON GIVING (2017, 7 min, digital) Niknaz, Chaplain Christopher Jones, Ted Kerr, and LJ Roberts INFLAMED: A LITANY FOR BURNING CONDOMS (2014, 6 min, digital) Eleni Zaharopoulos CRAVES CONTACT CONSTANTLY: PART IV (2018, 3 min, digital) Anna Betbeze & Nica Ross ATMOSPHERE 1 (2018, 6 min, digital) Total running time: ca. 85 min. MONDAY, MARCH 11, 2019 3/11 Cambridge, Massachusetts: Harvard Film Archive http://hcl.harvard.edu/hfa <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=c52e251b17&e=f36020cad0> 7pm, 24 Quincy Street WOMAN WITH A CAMERA: FEMALE FILMMAKERS FROM THE BAUHAUS In conjunction with the Bauhaus Centennial, this film series will reconstruct how members of the Bauhaus—one of the most progressive art, architecture and design schools in the early 20th century—actively engaged with moving images between the years 1919 and 1933. It explores a vibrant field of experimentation with a medium that has long remained marginal in the accounts of the Bauhaus by tracing how artists, architects, designers, weavers, typographers and photographers turned to film both as a new mode of artistic expression and as a tool of design: film sketches, abstract animations, cinematic form sequences, and colored lightplays emerged at the Bauhaus alongside new attempts to create an architectural film—or what Walter Gropius often referred to as “Bauhaus film”—that would capture the new architecture through the medium of moving images. Further fostering the school’s multi-faceted engagement with film, Bauhäusler simultaneously began to experiment with celluloid strips as a light, elastic and flexible material for design studies in the preliminary course; they incorporated sheets of celluloid in photocollages, costume designs and furniture coatings; and made frequent use of filmstrips for posters, flyers, book covers and other objects within their visionary advertising and exhibition designs. Conceived as a five-part film series in collaboration with the exhibition The Bauhaus and Harvard at the Harvard Art Museums, the two programs presented will shed light on some of the most overlooked aspects within the Bauhaus’ wide-ranging engagement with film. The first focuses on pieces by female Bauhäusler and women artists who worked in the immediate Bauhaus circles. It traces a significant shift from their largely uncredited animation work for well-known avant-garde filmmakers in the mid-1920s to their active part in shaping a socio-critical architectural cinema in the early 1930s. The second program moves beyond the Bauhaus years and presents a spectrum of films by former Bauhäusler and students at the School of Design in Chicago (formerly known as the New Bauhaus, founded by László Moholy-Nagy). Ranging from cinematic studies of nature’s forms, abstract animations and visual music experiments to a playful documentary of student work at the School of Design, this program elucidates how film experiments in the post-Bauhaus years remained closely tied to the Bauhaus’ ongoing pursuit of new forms of art, architecture and design. 3/11 Madrid: Museo Nacional de Arte Reina Sofia https://www.museoreinasofia.es/actividades/ismo-ismo-ismo <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=4b6161515b&e=f36020cad0> 7:00 P.M., Calle de Santa Isabel, 52, 28012 Madrid, Spain ISMO ISMO ISMO Programa 12 Armonías urbanas / Ciudades disonantes Duración: 63 min Juan Carlos Alom. Habana Solo 2000, 15 min, b&n, sonido, 16mm transferido a digital, Cuba Azucena Losana. A tus tacones 2017, 3 min, color, sonido, 16 m Argentina/República Checa Louise Botkay. Paisaje inútil 2010, 6 min, b&n, 16mm transferido a digital, Brasil Melisa Aller. Constitución 2013, 4 min, b&n, sonido, Super 8 transferido a digital, Argentina Alexandra Cuesta. Despedida 2013, 10 min, color, sonido, 16mm transferido a digital, Ecuador/Estados Unidos Felipe Ehrenberg. La Poubelle 1970, 16 min, color, sonido, 16mm transferido a digital, México Luis Soldevilla. Maquinaria No. 1 2011, 3 min, color, sonido, vídeo, Perú Luis Ospina y Carlos Mayolo. Cali de película 1973, 13 min, color, sonido, 16mm transferido a digital, Colombia A finales de la época del cine mudo, hubo a nivel internacional una tendencia a realizar filmes que retrataran la ciudad moderna. El montaje de estas películas, conocidas como sinfonías urbanas o sinfonías fílmicas, se realizaba como si se tratara de una partitura: el ritmo y la sucesión de las imágenes eran muy importantes para los cineastas. En América Latina, algunas de las primeras películas experimentales se sumaron a esta suerte de género de sinfonías urbanas, por ejemplo, São Paulo: a Sinfonia da Metrópole (1929) de Rodolfo Rex Lustig y Adalberto Kemeny, así como Sinfonia de Cataguases (1929), el cine-poema de Humberto Mauro sobre su pueblo natal en Minas Gerais, Brasil. Desde estas primeras obras, muchos cineastas han mantenido una fascinación por la ciudad, a la par que las urbes latinoamericanas se han ido transformando debido a un rápido e irrefrenable crecimiento, la industrialización y la migración masiva del campo a la ciudad. Este programa ofrece una gama de visiones —algunas más celebratorias, otras más críticas— sobre la arquitectura, el transporte, la cotidianidad, los desechos, el uso de los espacios públicos en ciudades como Buenos Aires, La Habana, Lima, Cali, Los Ángeles, Santiago de Chile, São Paulo, Praga y Londres. 3/11 San Francisco, CA United States: San Francisco Art Institute 7:30 PM, 800 Chestnut St SFAI FILM DEPARTMENT X CANYON: CURT MCDOWELL WITH MARK ELLINGER The San Francisco Art Institute Film Department and Canyon Cinema Present a series of 50th Anniversary Screenings Celebrating 50 Years of Filmmaking at SFAI. Doors 7:00 // Showtime 7:30 STINKY WIENERS AND DREAMY BEAVERS ***SPECIAL REPRISE SCREENING!** free and open to the public With Mark Ellinger in person. “Curt McDowell worked in San Francisco from the late 1960s until his death in 1987- a period that witnessed the Summer of Love, gay liberation, and the onset of AIDS, to which he succumbed at the age of forty-two. The author of numerous films that recast the American dream of plenty in pansexual terms, McDowell, like so many artists of his generation, indulged in the era’s carnal abundance, and his appetites and experiences are reflected in the work, which alternates between the revealing and the puerile. His short films, such as Wieners and Buns Musical (1972) and Loads (1980), celebrate sex as well as genre riffing and autobiographical narratives (McDowell’s insatiable desire for seducing straight men is explicitly documented in his 16-mm works), and bear the influences of Jack Smith’s lush, DIY camp aesthetic, Rainer Werner Fassbinder’s explosive melodrama, and Nan Goldin’s glimpses of countercultural bohemia.” – Glen Helfand, ArtForum “…Life for [McDowell] was a fast track to fast times that included devilish detours into forbidden erogenous zones. He explored all those zones with a zealous zeal: painter, pornographer, poet of the plebeian and the perverse…” – George Kuchar The San Francisco Art Institute Film Department and Canyon Cinema are pleased to present a special second screening of Stinky Wieners and Dreamy Beavers, a film program of short works by trailblazing queer filmmaker, artist and SFAI alumnus Curt McDowell. All films are recently restored by the Academy Film Archive, shown on newly created 16mm prints screening for the first time in the Bay Area — Curt McDowell’s adopted home and the site of much of his raunchy, autobiographical, comic, playful and unabashed work. Standing as essential portraits of Curt’s milieu and one of San Francisco’s many vanishing cultures, these films possess a life and vibrance that continues to endure. The program is introduced by Mark Ellinger, Curt's longtime collaborator and star. Program features: Ainslie Trailer (1972) Confessions (1971) Wieners and Buns Musical (1972) True Blue and Dreamy (1973) Ronnie (1973) The Mean Brothers “Get Stood Up” (1973) Stinky-Butt (1974) Beaver Fever (1974) --- This screening is the first of four taking place at the SFAI Lecture Hall in March and April to celebrate the legacy of SFAI's Film Department. Each screening will feature the work of artists who have studied or taught at the college, along with films they select from the Canyon Cinema catalog. March 11 - Curt McDowell with Mark Ellinger March 25 - Scott Stark April 3 - Kerry Laitala April 10 - Mike Henderson TUESDAY, MARCH 12, 2019 3/12 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=1aa5cc145b&e=f36020cad0> 7:00 PM, 32 Second Avenue FLAHERTY NYC: PROGRAM 5: THE PUZZLE WITHOUT AN ANSWER Karen Yasinsky & Jean-Paul Kelly in person.Something is happening, but the motivation isn't apparent. The clues align but the bigger picture eludes comprehension. The films here portray experiments in logic, formal fragmentation, and ambiguity. They trouble traditional linearity and narrative order to uncover the unsayable or unknowable. Bodies move in tandem, homes are evacuated, animals attack. Larger puzzles are afoot here: life, loss, love, experience, death. Robert Smithson & Nancy Holt SWAMP (1971, 6 min, 16mm-to-digital) Kevin Eskew STILL LIFE (2015, 3 min, digital) Basim Magdy TURTLES ALL THE WAY DOWN (2009, 10 min, digital) Karen Yasinsky VERA (2018, 6.5 min, digital) Bettina Hoffmann HOLD ON (2016, 5.5 min, digital) Jean-Paul Kelly MOVEMENT IN SQUARES (2013, 13 min, digital) Ruben Bellinkx THE MUSICAL CHAIR (2007, 10 min, 16mm) Dorothy Wiley MISS JESUS FRIES ON THE GRILL (1973, 12 min, 16mm) Total running time: ca. 70 min. WEDNESDAY, MARCH 13, 2019 3/13 Madrid: Museo Nacional de Arte Reina Sofia https://www.museoreinasofia.es/actividades/ismo-ismo-ismo <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=e56f3a45c1&e=f36020cad0> 7:00 P.M., Calle de Santa Isabel, 52, 28012 Madrid, Spain ISMO ISMO ISMO Programa 13 La mirada foránea Duración: 80 min Edgar Jorge-Baralt. Instrucciones para mirarse al espejo 2014, 16 min, 16mm transferido a digital, color, VOSE, Estados Unidos Louise Botkay. Vertières I, II, III 2014, 10 min, color, sonido, Super 8 transferido a digital, Brasil y Haití Leandro Katz. Los Angeles Station 1976, 10 min, color, silente, 16mm transferido a digital, Argentina/Guatemala/Estados Unidos Macarena Cordiviola. Últimos brillos 2008, 10 min, Super 8 transferido a digital, color, sonido, Argentina Felipe Esparza. Soga de muerto 2015, 7 min, b&n, sonido, digital, Perú Dalia Huerta. ¿Olvida usted algo? 2012, 28 min, color, sonido, Super 8 transferido a digital, México Este programa toma la idea de un travelling fílmico como punto de partida: la sensación de movimiento, el desplazamiento, el exilio, la confusión y disonancia, el dislocamiento y el contacto con lo foráneo. Leandro Katz trabaja de forma rigurosa y aparentemente simple con un rollo de Super 8 filmado en la periferia de un sitio arqueológico en Guatemala. Este modesto cortometraje comparte las preocupaciones del cine estructuralista y los complejos cálculos astronómicos de los antiguos arquitectos mayas en las ruinas cercanas de Quiriguá. Edgar Jorge-Baralt viaja por California del Sur, encontrando ecos de su país natal, Venezuela. Macarena Cordiviola lleva los escritos del poeta francés modernista Blaise Cendrars a un road trip recreando desplazamientos múltiples y simultáneos. Felipe Esparza explora el viaje del espíritu fuera del cuerpo en una traducción en blanco y negro de una experiencia quechua con ayahuasca. Louise Botkay usa Vertières como un portal para viajar en el tiempo y llegar a la primera guerra de independencia del colonialismo europeo en América Latina. Dalia Huerta sigue la circulación de mercancías alrededor del mundo, especialmente del producto de exportación arquetípico de Latinoamérica, el plátano, creando un ensayo idiosincrático sobre los valores asociados a este producto. THURSDAY, MARCH 14, 2019 3/14 Brooklyn, NY United States: UnionDocs http://www.uniondocs.org <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=011dc7fd69&e=f36020cad0> 7:30 PM, 322 Union Ave TAKE IT DOWN! In this collection of recent work by North Carolina-based media artists Sabine Gruffat and Bill Brown, celluloid film serves as both a material register and critical resource for interrogating the documentary image. Whether using discontinuous montage, handmade techniques for creating and processing images, or dramatic re-enactors, these five short films aim to extend the formal possibilities of non-fiction filmmaking as Brown and Gruffat attempt to describe and decipher life in the American South. We’re thrilled to have both Guffat and Brown in Conversation following the program. Framelines 10 min, 2017; Amarillo Ramp 24 min, 2017; Life On The Mississippi 28 min, 2018; XCTRY 6 min, 2018; Take it Down 13 min, 2018. Sabine Gruffat is a media artist with a special interest in the social and political implications of media and technology. Her experimental and essay films explore how technology, globalization, urbanism, and capitalism affect human beings and the environment. These films seek to empower people, encourage social participation, and inspire political engagement. Gruffat is an Assoc. Professor of Digital Media in the Dept. of Art at the Univ. of North Carolina- Chapel Hill. www.sabinegruffat.com <http://www.sabinegruffat.com> Bill Brown is a media artist interested in ways landscape is interpreted, appropriated, and reconfigured according to human desires, memories, and dreams. His research interests include haunted houses, memorial architecture, and outsider archaeology. He lives in North Carolina and is an Assoc. Professor of Media Production at UNC-Chapel Hill. www.heybillbrown.com <http://www.heybillbrown.com> 3/14 Los Angeles, California: Filmforum http://www.lafilmforum.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=a1a1d73467&e=f36020cad0> 7:00 pm, MOCA Grand Avenue, Ahmanson Theater, 250 S. Grand Ave., BABETTE MANGOLTE: THE SKY ON LOCATION Babette Mangolte in person! Artist Babette Mangolte joins us for a screening of her film The Sky on Location, a meditation on the American landscape. “The idea for the film came while I was traveling in 1975 on buses roaming the West. Spending often a night in the bus I was leaving a sunset in Arizona and waking up by sunrise in Wyoming. I noticed that the color of the sky changed from North to South and that color shift was what I tried to capture.” Mangolte constructs a geography through color while exploring ideas of wilderness unknown to her in her native France. FRIDAY, MARCH 15, 2019 3/15 Cambridge, Massachusetts: Harvard Film Archive http://hcl.harvard.edu/hfa <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=e8d92a1666&e=f36020cad0> 5pm, 7pm & 9pm, 24 Quincy Street JEAN-LUC GODARD'S THE IMAGE BOOK MARCH 15 - 23 Friday March 15 at 7pm Friday March 15 at 9pm Sunday March 17 at 5pm Sunday March 17 at 7pm Saturday March 23 at 9pm The Image Book (Le livre d’image) Switzerland/France 2019, DCP, color, 84 min. French, English, Arabic, Italian, German with English subtitles 3/15 Los Angeles, California: Filmforum http://www.lafilmforum.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=defc6a7730&e=f36020cad0> 8:00 pm, Echo Park Film Center, 1200 N. Alvarado St., Los Angeles BABETTE MANGOLTE: DANCE/ART/FILM Babette Mangolte in person! Artist Babette Mangolte returns in person for a second night of films that further explore the range of her artistic output. Since the 1970s Mangolte has filmed and photographed dance and performance, in many cases producing documents that have become primary in the recollection and retelling of these works. She has recorded the choreographies of Trisha Brown, Yvonne Rainer, Steve Paxton, Simone Forti, Lucinda Child, and others. With Chantal Akerman, Mangolte filmed Pina Bausch in One Day Pina Asked… (1984). Mangolte’s work captures the process and performance of dance, the dailiness of practice and the rigor and poetry of the form. Tonight, Mangolte presents two films on dance in which art is a central figure. Nancy Graves’s remarkable set appears in Lateral Pass, a choreography by Trisha Brown. Steve Paxton improvises in response to sculpture in Steve Paxton at Dia:Beacon. The remaining films in the program examine artists working in other mediums. Je, Nous, I or Eye, Us is an essay in which the photographer and her subjectivity is the subject. Here, Mangolte reexamines footage from her 1977 film The Camera: Je or La Camera: I. Edward Krasiński’s Studio is a portrait of a studio and the two artists who shared it, Henryk Staźewski and Edward Krasiński. SATURDAY, MARCH 16, 2019 3/16 New York, NY United States: Metrograph 7:30 PM, 7 Ludlow Street LIGHT INDUSTRY AT METROGRAPH: BAD GIRLS GO TO HELL + THE DEADMAN In conjunction with the reissue of Peggy Ahwesh’s zine The Films of Doris Wishman—now available at the Metrograph Book Store in an expanded edition from Inpatient Press and Light Industry—Metrograph presents a double bill featuring Wishman’s Bad Girls Go to Hell, one of the supreme accomplishments by the doyenne of sexploitation, alongside Ahwesh and Keith Sanborn’s The Deadman, a bawdy, Georges Bataille-inspired tale which draws a kind of spiritual guidance from Wishman’s work. BAD GIRLS GO TO HELL Director: Doris Wishman 1965 / 71 mins / 35mm Possessed with sex, they know no shame! “My favorite Wishman films are the ‘roughies’ from the mid-'60s, which combine titillating striptease (black lace panties dropping provocatively to the floor) with rough sex play and a brutally dystopic view of relations between the sexes. In Wishman’s masterful Bad Girls Go to Hell, a sad and misunderstood housewife is a fugitive fleeing a stream of violent men (and one well-meaning lesbian).”—Peggy Ahwesh THE DEADMAN Directors: Peggy Ahwesh and Keith Sanborn 1989 / 37 mins / 16mm “Peggy Ahwesh and Keith Sanborn’s free and liberating (as well as liberated) 1989 adaptation of Georges Bataille’s untranslated story Le morte is one the most exciting and accomplished experimental films I saw during the 1990s. It charts the adventures of a nearly naked heroine who leaves the corpse of her lover in a country house, goes to a bar, and sets in motion a scabrous free-form orgy before returning to the house to die. The film manages to approximate the transgressive poetic prose of Bataille while celebrating female sexual desire without the usual patriarchal-porn trimmings. Equally remarkable for its endlessly inventive sound track and its beautiful black-and-white photography, it bears the earmarks of an authentic classic.”—Jonathan Rosenbaum Followed by a conversation with Peggy Ahwesh and Keith Sanborn. Print of Bad Girls Go to Hell courtesy of the American Genre Film Archive. 3/16 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=20ccdcec74&e=f36020cad0> 6:15 PM, 32 Second Avenue RR by James Benning. "For two years, Benning assembled footage of trains throughout the U.S., depicting their movement through the frame of a static camera in a variety of surroundings. From start to finish, we see the steel monsters in their entirety, passing from idyllic and pristine landscapes to more populated and disfigured spaces, and finally through to the ends of the continent. The diversity of these locations corresponds in turn to a catalog of different forms of trains, speeds and shot lengths: ranging from very short to extremely long, the freight trains make their way by turns slowly or at great speeds, at times in the foreground or vanishing into the backdrop, through the changing scenery." -Christian Höller, EDITION FILMMUSEUM 3/16 San Francisco: Other Cinema http://www.othercinema.com/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=151005d66b&e=f36020cad0> 8pm, 992 Valencia Street WOOD+FAVORITE+BUCHANAN/GATEWOOD This semi-annual celebration of our City’s history in fact also serves to launch two new publications!! Projection-artist Ben Wood proudly unveils California’s Hidden Mural, his well-researched report on the Ohlone murals hidden behind the altar of Mission Dolores itself. Against odds, he managed to squeeze in behind the wooden reredos and lower a camera on a wire...and he GOT THE SHOTS of the indigenous designs still on the rear wall of the nave! He shares the results tonight, in conjunction with the formal publication of his account. In an uncanny coincidence, local maker Brian Favorite is here too with a saga of another Catholic church, his 18-min Parish. Sited in the Castro some 9 blocks west, Holy Redeemer rose to be a vibrant center for both gay and straight congregants in the midst of the AIDS crisis. AND: Anthony Buchanan also stakes his SF claim, releasing the first issue of CounterFlicks in tandem with his Charles Gatewood Archive screener--on another dear neighbor (from Bernal Heights) no longer with us. PLUS: Javier Briones’ El Sonador, Julia Schroeder’s Brittsense...and Steve McQueen’s Bullitt, of course.*$8 SUNDAY, MARCH 17, 2019 3/17 Los Angeles, California: Filmforum http://www.lafilmforum.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=41d793d9f3&e=f36020cad0> 7:30 pm, Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd. HONORING PETER MAYS, LOS ANGELES TREASURE, PART 1 Our friend Peter Mays has made films and paintings in Los Angeles since the 1960s. He was a crucial figure in the experimental film scene here. He passed away early in the morning on March 4, 2019. We want to honor him by screening a variety of his works made over the past 59 years. In this first part, we look more at his works originating on film in the 1960s, although some weren’t completed for decades. Their effusiveness, pop culture references, and psychedelic colorful extremes make them some of the finest documents of the 60s. Screening: Vision (excerpt)(1960-62); Stream (1963-64); Death of the Gorilla (1965); Astral Man: A Memory Film of the Sixties (excerpts)(1968-2000); The Star Curtain Tantra (1966/69) Tickets: Free but please RSVP. Available in advance from Brown Paper Tickets at https://petermays1.bpt.me or at the door. For more information: www.lafilmforum.org <http://www.lafilmforum.org> or 323-377-7238. _____ 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=f004c5b37f&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=fc9f04ac23&e=f36020cad0> . <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=83c3aac98a&e=f36020cad0>
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