<http://www.hi-beam.net/now.gif> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=cd12f1b2a0&e=f36020cad0> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=6f9aaf093c&e=f36020cad0> This week [March 30 - April 7, 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=05bc37a8e4&e=f36020cad0> . To receive the weekly listing via email: Subscribe <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=af548de2fc&e=f36020cad0> . <http://www.othercinema.com/images/spring_19/7.%20Davis_ThatWoman.jpg> Sandra Davis/George Kuchar + Greta Snider <> [March 30, San Francisco] <https://www.lafilmforum.org/assets/Uploads/Screenings/_resampled/FitWyIzODAiLCIyNjYiXQ/4-Turn-Titles-MX.mp4.00-01-19-18.Still002.jpg> Honoring Peter Mays, Los Angeles Treasure, Part 2 <> [March 31, Los Angeles, California] <https://scontent-sjc3-1.xx.fbcdn.net/v/t1.0-9/52641247_10157045923260489_8872936833311309824_n.jpg?_nc_cat=103&_nc_ht=scontent-sjc3-1.xx&oh=13b17046b8b3c7c27041c86c0a483fe0&oe=5D0D67BC> Sfai Film Department X Canyon: Kerry Laitala <> [April 3, San Francisco, CA United States] NEW CALLS FOR ENTRIES: Paris Festival for Different and Experimental Cinemas (Paris, France; Deadline: May 20, 2019) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=653ee7bebc&e=f36020cad0> &readfile=2025.ann Gimli Film Festival 2019 (Gimli, Manitoba, Canada; Deadline: April 15, 2019) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=3c6bac0a90&e=f36020cad0> &readfile=2026.ann Berwick Film & Media Arts Festival (Berwick-upon-Tweed, UK; Deadline: April 05, 2019) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=3a6250d91d&e=f36020cad0> &readfile=2027.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=1fc2897bee&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=b8856f9c82&e=f36020cad0> &readfile=2006.ann Far Out Film Festival (Nashvlle, TN; Deadline: April 20, 2019) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=b5cd481366&e=f36020cad0> &readfile=2017.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=8090416134&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=0e7bdf018c&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=23051f77fe&e=f36020cad0> &readfile=2023.ann Gimli Film Festival 2019 (Gimli, Manitoba, Canada; Deadline: April 15, 2019) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=a3272ad921&e=f36020cad0> &readfile=2026.ann Berwick Film & Media Arts Festival (Berwick-upon-Tweed, UK; Deadline: April 05, 2019) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=fb32345a2c&e=f36020cad0> &readfile=2027.ann Events are sorted alphabetically BY CITY within each DATE. This week's programs (summary): * <3 and Landscape of Absence [March 30, Ann Arbor, Michigan] * Films In Competition 11 <> [March 30, Ann Arbor, Michigan] * Films In Competition 10: Almost All Ages (Ages 6+) <> [March 30, Ann Arbor, Michigan] * Remnants of A Dream (Special Program) <> [March 30, Ann Arbor, Michigan] * Films In Competition 12 <> [March 30, Ann Arbor, Michigan] * Nothing Or Everything (Feature In Competition) <> [March 30, Ann Arbor, Michigan] * My Friend the Polish Girl With Object Dream and Cut Copy Sphinx (Feature In Competition) <> [March 30, Ann Arbor, Michigan] * Looking In the Mirror, I See Me – Early Women's video Art From the video Data Bank Collection (Special Program) <> [March 30, Ann Arbor, Michigan] * Films In Competition 13 <> [March 30, Ann Arbor, Michigan] * Wada's World: Wrestling With Existence (Special Program) <> [March 30, Ann Arbor, Michigan] * Films In Competition 14 <> [March 30, Ann Arbor, Michigan] * Sandra Davis/George Kuchar + Greta Snider <> [March 30, San Francisco] * Vulture With Scaling Quelccaya and Why Did You Cry When You Read That Poem (Feature In Competition) <> [March 31, Ann Arbor, Michigan] * Films In Competition 15 <> [March 31, Ann Arbor, Michigan] * What the Hell Was That? Moderated By Daniel Herbert <> [March 31, Ann Arbor, Michigan] * Robert Todd: Matters of Life and Death <> [March 31, Ann Arbor, Michigan] * How We Live – Messages To the Family <> [March 31, Ann Arbor, Michigan] * Films In Competition 16 <> [March 31, Ann Arbor, Michigan] * Bitch Thunder: Your Favorite All-Female Party Drumline <> [March 31, Ann Arbor, Michigan] * Honoring Peter Mays, Los Angeles Treasure, Part 2 <> [March 31, Los Angeles, California] * Ec: Warhol / Watson <> &Amp; Webber / Whitney [March 31, New York, NY] * Ec: Harlot <> [March 31, New York, NY] * Michaela Grill / Sophie Trudeau <> [March 31, Toronto, Ontario, Canada] * Patrick Keiller'S the Dilapidated Dwelling <> [April 2, Brooklyn, NY United States] * Black Maria Film Festival Presents Films By Eugene Richards <> [April 3, Hoboken, NJ United States] * Sfai Film Department X Canyon: Kerry Laitala <> [April 3, San Francisco, CA United States] * Speculative Legal Futures and the Poetic Testimony of violence <> [April 4, Brooklyn, NY United States] * In Order For Disorder: An Evening With Fern Silva <> [April 4, Cambridge, Massachusetts] * Open Screen <> [April 4, Los Angeles, California] * Glass House: Films of Ariana Gerstein <> [April 4, San Francisco, CA United States] * Tell Me When You Die <> [April 5, Brooklyn, NY United States] * Renwick + Scobie + Waxy Tomb <> [April 6, San Francisco] * Single Frame <> [April 7, Durham, NC] * Ariana Gerstein: Traces and Memories <> [April 7, Los Angeles, California] SATURDAY, MARCH 30, 2019 3/30 Ann Arbor, Michigan: Ann Arbor Film Festival http://aafilmfest.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=3b31272d9f&e=f36020cad0> 1:00pm, Michigan Theater Screening Room <3 AND LANDSCAPE OF ABSENCE Across different genres and eras of Western film history, female protagonists from 70 well-known movies set out in search of each other in Landscape of Absense (Verena Looser and Melina Weissenborn). In <3 (LNZ), a loosely woven, spiraling death odyssey of the night, LNZ’s body moves through different forms of digital imagery until finally being uploaded to the Internet to live forever. Formally, it’s a 60-minute selfie, lol. It’s also a coming-of-age story in a technological communications revolution where love gets uploaded, digitally dislocated, unseen, and lost, bit by bit, into an asynchronous Internet landscape <3 3/30 Ann Arbor, Michigan: Ann Arbor Film Festival http://aafilmfest.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=8e47b2a516&e=f36020cad0> 1:15pm, Michigan Theater Main Auditorium FILMS IN COMPETITION 11 Mixed-genre program featuring organizations and movements that embrace change; a real-life story that happened during the Abkhazian war; squares, sound, and speed; bodies in motion, bodies at rest, life, death, and black resilience; a deceased grandmother; a remote community; and a Belgian missionary who falls in love with a Rwandan girl. New Panther: A Call for Action (Sage Love and Nola Asantewaa), Armed Lullaby (Yana Ugrekhelidze), Sonant (Timothy David Orme), Sketches and Portraits for Jean-Michel (Ephraim Asili), Girls Grow Up Drawing Horses (Joanie Wind), Winter in Eden (Maren Hahnfeld), The Yellow Mazda and His Holiness (Sandra Heremans). 3/30 Ann Arbor, Michigan: Ann Arbor Film Festival http://aafilmfest.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=2ec5d7e715&e=f36020cad0> 11:00am, Michigan Theater Main Auditorium FILMS IN COMPETITION 10: ALMOST ALL AGES (AGES 6+) Mixed-genre, family-friendly films featuring a band of survivors; truth and beauty at the landfill; freshwater ecosystems; the sun's energy; a grain silo; Ethiopia; another's point of view; laser-cut stencils; true love; and imagination. A family-friendly program of narrative, documentary, experimental, and animated films: Clean Slate (David Opdyke), The Art of Living While Being Left Behind (Claudia Franzen), Water Cycle (Tom Hansell), Orbit (Tess Martin), Silo (Gina Kamentskey), Circus Movements (Lukas Berger and Mário Gajo de Carvalho), Jane La Onda – “Fly” (TRLLM (K8 Howl, Jak Ritger)), RGBebop / Anthropology (Luigi Allemano), Code Ruth (Caroline Voagen Nelson), DREAMLAND (Mirai Mizue). 3/30 Ann Arbor, Michigan: Ann Arbor Film Festival http://aafilmfest.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=bde62ecc5e&e=f36020cad0> 3:00pm, Michigan Theater Screening Room REMNANTS OF A DREAM (SPECIAL PROGRAM) There are five types of memory: long-term, short-term, explicit, implicit, and autobiographical. Through these forms of memory, we retain a limited amount of information. Memory never recaptures reality. Memory reconstructs reality. Reconstructions change the original, becoming external frames of reference that inevitably fail. Seldom do we fully remember our dreams after sleep, only remnants. These remnants are reconstructed into a new narrative that our memory shapes. Remnants of A Dream is a short film program that functions as a recollection of global black experiences. Our memory can be a rekindling of the moments that shook us most – a pool party gone wrong, a summer on the brink, a disaster within the days of youth, our ancestral struggles, and our own desires. Memories are infinite time capsules, repurposed, and passed on. We must will ourselves to confront the memories that affect us the most. The brevity of the 10 films included in this program spark the rekindling and manipulation of memories toward paths of healing. Curated and presented by Amir George. 3/30 Ann Arbor, Michigan: Ann Arbor Film Festival http://aafilmfest.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=1d1791ef99&e=f36020cad0> 3:15pm, Michigan Theater Main Auditorium FILMS IN COMPETITION 12 Mixed-genre program featuring a landscape film; machine consciousness; an attempt to make work in a foreign land; hyperpersonalized ads; dark stairways; species, kingdoms, and realms; proximities; and an 89-year-old marketing gimmick. he Air of the Earth in Your Lungs (Ross Meckfessel), The Redness of Red (Emily Downe), Between Relating and Use (Nazli Dinçel), Call of Comfort (Brenda Lien), Haus der Regierung / Government House (Herwig Weiser), Realms (Patrik Söderlund), The Moons of Paliver (Eric Gaucher), Driving Dinosaurs (Emma Piper-Burket). 3/30 Ann Arbor, Michigan: Ann Arbor Film Festival http://aafilmfest.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=ff37b3dd35&e=f36020cad0> 5:00pm, Michigan Theater Screening Room NOTHING OR EVERYTHING (FEATURE IN COMPETITION) In both the past and the present, two people walk deep into a mountain forest. For these two women born and raised in the city, there is no place more unfamiliar. It is a place where all kinds of living things are breathing. In Nothing or Everything (Gyeol Kim), two people in the present climb the mountain, following two people from the past. 3/30 Ann Arbor, Michigan: Ann Arbor Film Festival http://aafilmfest.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=48416d4b35&e=f36020cad0> 5:15pm, Michigan Theater Main Auditorium MY FRIEND THE POLISH GIRL WITH OBJECT DREAM AND CUT COPY SPHINX (FEATURE IN COMPETITION) In Object Dream (Kyungwon Song), the process of drawing images on an object and moving them is a process of animating – of bringing them to life. As they become a subject, they become animated, and eventually, we can watch what they dream about. CUT COPY SPHINX (Virginia Lee Montgomery) is a surreal, sculptural short art film about metaphysics, myth, and destruction. A feminist twist on the classical myth of Oedipus and the Sphinx, CUT COPY SPHINX recasts the sphinx as the uncanny hero who endures “cuts” across time. Shot en plein air on a miniature prop set with a DeWalt drill and a gallon of honey, CUT COPY SPHINX syncs philosophy, feminism, and image theory. Cannes and Telluride nominee Ewa Banaszkiewicz and Mateusz Dymek create a fiction film that takes the form of a first-time filmmaker’s documentary. My Friend the Polish Girl borrows from cinema verité and video bloggers to create a rare naturalism in style and performance. The result is a fiction film that watches as an experimental documentary told through the eyes (and lens) of amateur filmmaker Katie Broughton. 3/30 Ann Arbor, Michigan: Ann Arbor Film Festival http://aafilmfest.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=ed28141a2c&e=f36020cad0> 7:00pm, Michigan Theater Screening Room LOOKING IN THE MIRROR, I SEE ME – EARLY WOMEN’S VIDEO ART FROM THE VIDEO DATA BANK COLLECTION (SPECIAL PROGRAM) "The emergence of video art tools in the late 1960s and early 1970s paved the way for outstanding art works by women. Captivated by the relative accessibility, portability, and immediacy of Sony’s Video Portapak system, female artists began to experiment with the video format. Often taking a direct-to-camera approach, many of the resulting works reflect the burgeoning feminist movement in the U.S. at the time. The videos in this program, all made by women artists active in the 1970s – video’s first decade – occupy a number of positions and points of view in relation to women’s role in society." – Abina Manning, VDB Executive Director 3/30 Ann Arbor, Michigan: Ann Arbor Film Festival http://aafilmfest.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=8e026f8dc1&e=f36020cad0> 7:15pm, Michigan Theater Main Auditorium FILMS IN COMPETITION 13 Mixed-genre program featuring a search for a bathroom; a ghost; a lost time and place; show dogs; ritualistic production of energy; a love and a loss; sun, moon, wind; one thing leading to another; a spam email collection; a nameless character reacting to iBooks; and sounds of slates, splices, and noise. Random Thoughts (Steven Vander Meer), Underbelly Up (Joshua Yates), Eastern District Terminal (Michael Gitlin), Winners Bitch (Sam Gurry), Burkina Brandenburg Komplex (Ulu Braun), horses in the year of the dog (Terra Long), sun moon wind plant animal (Tom Bartlett), A Sequence of Events (Michael Edwards), Hi I Need to Be Loved (Marnie Ellen Hertzler), iBooks (Sarah Odile Postic), Begin (Craig Smith). 3/30 Ann Arbor, Michigan: Ann Arbor Film Festival http://aafilmfest.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=6c74c3938a&e=f36020cad0> 9:00pm, Michigan Theater Screening Room WADA’S WORLD: WRESTLING WITH EXISTENCE (SPECIAL PROGRAM) Wada Atsushi is one of the top animators in Japan. This is not that highly conventionalized and capitalized animation also known as anime. Rather, Wada presents his own strange, wonderful, and instantly recognizable world through his .3mm sharp pen. In Wada’s world, humans enjoy a peculiar relationship to the living things around them. His drawings of the animal kingdom may look relatively realistic, but his creatures emit an uncanny sense of anthropomorphization from deep inside their feral forms. Wada writes, “I like animals that give me space for thinking.” Space – or ma in Japanese – is a central concept for Wada’s practice. His visual space has the twisty-turny cyclical structures of Escher, and his soundtrack is punctuated by empty blanks inspired by composer Takemitsu Toru. Thus, ma in Wada’s oeuvre is not a cultural essence, but rather something arriving from Wada’s own artistic sensibility; one can recognize Wada’s world in the first few seconds of a film. Curated and presented by Markus Nornes. 3/30 Ann Arbor, Michigan: Ann Arbor Film Festival http://aafilmfest.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=0c46426336&e=f36020cad0> 9:15pm, Michigan Theater Main Auditorium FILMS IN COMPETITION 14 Mixed-genre program featuring a labyrinth; a watery spiral world; our obsession with physical perfection; miniature, yet mighty, ant civilizations; the legitimization of sexual violence; a poetic contemplation; failing real estate holdings; and a snowstorm. The Divine Way (La Via Divina) (Ilaria Di Carlo), Hallowstide (Steve Socki), Never Never Land (Michael Fleming), Leafcutters (Catherine Chalmers), Xvideo (Miss Free Collective), Please Come Again (Alisa Yang), Failing Up (Jacqueline Gross), At the Horizon (Manuel Knapp and Makino Takashi). 3/30 San Francisco: Other Cinema http://www.othercinema.com/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=24efa98b03&e=f36020cad0> 8pm, 992 Valencia Street SANDRA DAVIS/GEORGE KUCHAR + GRETA SNIDER We’re consummating Intl. Women’s Month with the theatrical premiere of That Woman--Sandra Davis dresses up the late great George Kuchar as Barbara Walters, in a mock-TV interview with a Monica Lewinsky look-alike. CO-BILLED: Greta Snider not only answers the call for a reprise of her exquisite A Small Place, but also dusts off her rarely-seen The Magic of Radio, an eye’n’ear-popping exploration of the low-power radio broadcast scene, as personalized as Portland punkettes sending signals just as they pedal their bikes. Just Added: Greta’s in-progress YoJiJuKuGo! PLUS: Kelly Gallagher premieres Slower, her essay on sexual styles, Mexican maestra Ximena Cuevas kicks in De Cuerpo Presente, and Barbara Hammer comes out in her 70s luv-fest Dyketactics. ALSO Diana Sanchez’ Dorothy (Wiley!), Lydia Greer’s Hysteria, Dynasty Handbag’s Break Up Day, and Pussy Riot’s Straight Outta Vagina.*$9 SUNDAY, MARCH 31, 2019 3/31 Ann Arbor, Michigan: Ann Arbor Film Festival http://aafilmfest.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=c71ccd63c3&e=f36020cad0> 1:00pm, Michigan Theater Screening Room VULTURE WITH SCALING QUELCCAYA AND WHY DID YOU CRY WHEN YOU READ THAT POEM (FEATURE IN COMPETITION) Why did you cry when you read that poem (Fulla Abdul-Jabbar) explores the rigidity of structure and the quality of form that moves us. Part of a series of PowerPoint poems which re-present the medium as inherently personal and expressive, this performance is interested in how, when you exert unfamiliar pressure on a structure, its irrationality reveals itself. Scaling Quelccaya (Meredith Leich) is a surreal exploration of the melting Quelccaya glacier in Peru and an altered future in Chicago, weaving together 3D animation, satellite imagery, archival NASA footage, and speculative math about climate change and snow. vulture (Philip Hoffman) sets its sight on farm animals, their surrounding flora, and the farming process. Static shots and slow-moving zooms follow the grazing animals in their minute inter-species exchanges. When left to roam together, the sensibilities of these “beasts” are allowed to surface. The film was shot and processed with various means, including flower/plant processing carried out as blooming occurred. 3/31 Ann Arbor, Michigan: Ann Arbor Film Festival http://aafilmfest.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=75c9c90f02&e=f36020cad0> 1:15pm, Michigan Theater Main Auditorium FILMS IN COMPETITION 15 These recent experimental, documentary, and animated films feature light, time, and decayed film; a sightseeing tour of arctic climate change; and an underground construction site.The Dead Sea Scrolls (Steven Woloshen), On Destruction and Preservation (Maija Blåfield), The Fear of Dying in Transit (Ian Purnell). 3/31 Ann Arbor, Michigan: Ann Arbor Film Festival http://aafilmfest.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=2dcd7daa88&e=f36020cad0> 10:00am – 11:00am, Space 2435 North Quad WHAT THE HELL WAS THAT? MODERATED BY DANIEL HERBERT Moderated by Associate Professor Daniel Herbert – a media scholar on the faculty of the Department of Film, Television, and Media Arts in the College of Literature, Science, and the Arts at the University of Michigan – this panel discussion has been an Ann Arbor Film Festival favorite for more than a decade. It began when a filmmaker overheard an audience member declare, “What the hell was that?” after viewing his film. An enlightening discussion ensued, and the idea for the panel was born. Join visiting filmmakers and other special guests for an opportunity to watch and discuss three short experimental films selected from this year’s festival lineup. 3/31 Ann Arbor, Michigan: Ann Arbor Film Festival http://aafilmfest.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=6a560fcf3b&e=f36020cad0> 12:00pm, Michigan Theater Main Auditorium ROBERT TODD: MATTERS OF LIFE AND DEATH "This program springs from Robert Todd’s showing by the same title at the Boston Paramount Theater in April 2018. It would become his last public appearance. We have chosen to add Shrine, a deeply personal film, to his lineup, which we believe will provide an added dimension and shed some insight on the mind of the artist. Created between April 2017 and January 2018, these films all lean into the tension between unity and distance. Todd described them as “a shared illusion of community, rendered harmoniously, entering the envelope of life, moving through and touching upon its many layers, with their embedded joys and sorrows.” They reveal the developing fabric of the author’s recent life: most edited within the camera, and presented in an order that corresponds to a year of trials and tribulations." – Deb Todd Wheeler 3/31 Ann Arbor, Michigan: Ann Arbor Film Festival http://aafilmfest.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=8a1196845d&e=f36020cad0> 3:00pm, Michigan Theater Screening Room (Feature in Competition) HOW WE LIVE – MESSAGES TO THE FAMILY how we live – messages to the family (Gustav Deutsch) is a broad media-archaeological array that takes the form of letter writing: from the first color home movies to video and digital cell-phone images and Skype. Family recordings structure the film like moving postcards, telling of various lives and life paths from the 20th century. 3/31 Ann Arbor, Michigan: Ann Arbor Film Festival http://aafilmfest.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=222cedb8d1&e=f36020cad0> 3:15pm, Michigan Theater Main Auditorium FILMS IN COMPETITION 16 These recent experimental, documentary, and animated films feature a home filled with rare objects from around the world; scattered voices expressing secret histories; audio appropriated from teen and tween YouTube videos; an intense relationship between two magical tween girls; an impossible gesture of transmutation; and proactive wisdom in the voice of an old elephant. in a free sound field (Monteith McCollum), TROPICS (Mathilde Lavenne), Am I Pretty? (Jennifer Proctor), ICUCICU (Charlotte Hong Bee Her and Giuliana Foulkes), Neither Spring Nor Estuary (Valentina Homem), 60 Elephants. Episodes of a Theory (Sasha Pirker and Michael Klein). 3/31 Ann Arbor, Michigan: Ann Arbor Film Festival http://aafilmfest.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=8da001ba3f&e=f36020cad0> Various times starting at 5:30pm, The Michigan Theater BITCH THUNDER: YOUR FAVORITE ALL-FEMALE PARTY DRUMLINE Bitch, Thunder! is an all-female drumline from Toledo, Ohio. Led by accomplished percussionist Jess Hancock, the group consists of eight women committed to inspiring female musicians while proving the power of drumming in public spaces. To celebrate the announcement of festival awards, Bitch, Thunder! will lay down their percussive sounds in front of the theater before the first screening, in the grand foyer before the second screening, and – after the second screening – leading a parade of festival-goers down Liberty Street to an afterparty at Babs’ Underground. 3/31 Los Angeles, California: Filmforum http://www.lafilmforum.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=09ea053fa4&e=f36020cad0> 7:30 pm, Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd. HONORING PETER MAYS, LOS ANGELES TREASURE, PART 2 Our friend Peter Mays made films and paintings in Los Angeles since the 1960s, a critical 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 the second part of our retrospective, we focus on his wonderful video work. Screening: Dark Island (2009); A Graveyard Tale (1982); Aleph (2012); Turn (2015-2019) World Premiere!; Yoga-Sutras (2010). Filmforum’s oral history with Peter Mays, done as part of Alternative Projections: Experimental Film in Los Angeles 1945-1980, can be read at https://www.alternativeprojections.com/oral-histories/peter-mays/ Tickets: Free but please RSVP. Available in advance from Brown Paper Tickets at https://petermays2.bpt.me or at the door. 3/31 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=e64c9fd98e&e=f36020cad0> 3:30 PM, 32 Second Avenue EC: WARHOL / WATSON & WEBBER / WHITNEY Andy Warhol EAT (1963, 35 min, 16mm, b&w, silent) "A portrait of artist Robert Indiana, EAT is one of the classics of Warhol's minimalist cinema. As Indiana slowly eats one mushroom, the action is rendered mysterious by Warhol's decision to assemble the rolls out of order, so the mushroom appears to magically renew itself from time to time." -Callie Angell James Sibley Watson & Melville Webber FALL OF THE HOUSE OF USHER (1928, 13 min, 16mm, b&w, silent) "Filmed in a Rochester, New York, carriage house, this expressionist film is the earliest live-action dramatic film made by a collaboration of poets and artists in the United States. Watson devised the optical effects that distinguish the film, while Webber provided its visual design, based upon medieval frescoes." -Robert A. Haller John & James Whitney FILM EXERCISES 1-5 (1943-45, 18 min, 16mm) "The visual images in these films were created by shining light through flexible masks, so that the camera was filming direct light rather than light reflected from drawings. The results seem like dazzling neon apparitions, that were as novel and shocking as the accompanying soundtrack." -William Moritz James Whitney LAPIS (1963-66, 10 min, 16mm) "The most elaborate example of a mandala in cinema. It utilizes a field of tiny dots, symmetrically organized in hundreds of very fine concentric rings, to generate slowly changing intricate patterns…. Both structurally and visually LAPIS conforms to the circular form of the mandala; its elaborate movements belie a fundamental stasis." -P. Adams Sitney Total running time: ca. 80 min. 3/31 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=0862a4ba02&e=f36020cad0> 5:30 PM, 32 Second Avenue EC: HARLOT by Andy Warhol. "Warhol's first synch-sound feature, HARLOT is an underground version of the Jean Harlow story. Staged as a kind of tableau vivanton the Factory couch, Mario Montez, in drag, is Harlow at the center of a carefully posed 'family' grouping of formally dressed Superstars and a large white cat. Accompanied by an improvised and largely unrelated conversation between three off-screen narrators, Mario/Harlow consumes large numbers of bananas in increasingly suggestive ways; the film ends in a frenzy of banana erotics and a burst of 'Swan Lake.'" -Callie Angell 3/31 Toronto, Ontario, Canada: Array Space https://www.facebook.com/events/1107059149491106/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=7205a3ab4d&e=f36020cad0> 8pm, 5 gordon street, unit 107 MICHAELA GRILL / SOPHIE TRUDEAU an evening of sound and vision with internationally acclaimed luminaries Godspeed You! Black Emperor’s Sophie Trudeau and Austrian Filmmaker Michaela Grill. https://trudeaugrill.wordpress.com/ TUESDAY, APRIL 2, 2019 4/2 Brooklyn, NY United States: Light Industry http://www.lightindustry.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=cce698d0dc&e=f36020cad0> 7:00 PM, 155 Freeman St PATRICK KEILLER'S THE DILAPIDATED DWELLING The Dilapidated Dwelling, Patrick Keiller, 2000, digital projection, 78 mins. "Introducing The Dilapidated Dwelling at a rare screening at Birkbeck College a decade or so ago, Patrick Keiller described it both as his 'naughty film' and his 'New Labour film.' It's not hard to see why, in both cases. The film operates at a tangent to the Blair project, as part of a brief moment when Britain seemed to be moving towards a saner Euro-capitalism, rather than a less bigoted version of Thatcherism; a movement a left-wing thinker could try and influence. And it’s a 'naughty film' because of its ambition to shift the Marxist-urbanist driftworks of Keiller’s first two Robinson films into a mode of propaganda, like a GPO Film Unit documentary affected by paradox, irony and decades of defeat—as if filmmaker Paul Rotha had read Walter Benjamin. Its topic is straightforward: British capitalism is relatively technologically advanced, and prices for the overwhelming majority of consumer goods have been falling consistently for several decades, yet housing has risen sharply and inexorably in price. An unnamed travelling narrator tries to investigate why, much as Robinson is commissioned to investigate 'the problem of London' and 'the problem of England' in Keiller’s previous films London and Robinson in Space. Here, that problem is narrowed down to something quite specific, through interviews and archival footage mixed with Keiller's dialectical images of British man-made landscapes. The film was commissioned for Channel 4, who decided not to screen it, something which comments upon the populist conservatism and paucity of imagination of 1990s-2000s British culture as sharply as the film itself. WEDNESDAY, APRIL 3, 2019 4/3 Hoboken, NJ United States: Hoboken Historical Museum 7:00 PM, 1301 Hudson St BLACK MARIA FILM FESTIVAL PRESENTS FILMS BY EUGENE RICHARDS In collaboration with the Hoboken Historical Museum, the Black Maria Film Festival continues its series of documentary and theme-based film programs from the Festival collection on Wednesday evenings this spring. Black Maria Executive Director Jane Steuerwald will present each program and lead a discussion with the audience and guest filmmakers. April 3rd features two documentaries by the acclaimed photographer/filmmaker Eugene Richards. Mr. RIchards will be present to discuss his work with the audience. Eugene Richards is a photographer, writer and filmmaker who has authored 17 books. His first publication, Few Comforts or Surprises (1973), which speaks of the lives of sharecroppers in the Arkansas Delta, was followed by Dorchester Days (1978), a portrait of the inner-city neighborhood where he was raised. Subsequent books include Cocaine True, Cocaine Blue (1994), a study of the impact of hardcore drugs on inner city communities; The Blue Room (2008), a study in color of abandoned houses across rural America; and War Is Personal (2010), a documentation of the consequences of the Iraq war. 4/3 San Francisco, CA United States: San Francisco Art Institute 7:30 PM, 800 Chestnut St SFAI FILM DEPARTMENT X CANYON: KERRY LAITALA 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 Free! and open to the public. KERRY LAITALA PROGRAM DETAILS FORTHCOMING free and open to the public Kerry Laitala is a media archaeologist whose works spans the territories of photography and expanded cinema performances to 3D single channel videos and installation. Laitala has won two Golden Gate Awards from the San Francisco International Film Festival, was awarded the Princess Grace Award for film in 1996 and four Special Projects grants from PGF. Laitala’s work synthesizes ideas and ephemera from the realms of science, history, and technology. --- This screening is the third 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 THURSDAY, APRIL 4, 2019 4/4 Brooklyn, NY United States: UnionDocs http://www.uniondocs.org <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=b8038d223e&e=f36020cad0> 7:30 PM, 322 Union Ave SPECULATIVE LEGAL FUTURES AND THE POETIC TESTIMONY OF VIOLENCE UnionDocs welcomes artist and researcher, Helene Kazan to give a lecture performance introducing ‘poetic testimony’ as a speculative legal future, and as a feminist method for breaking asymmetric power structures in international law. Through an embodied presentation of audio/visual material from different temporal and spatial contexts encountered throughout her work, Kazan draws on contemporary feminist and queer critical legal theory, on culturally ingrained and gendered modes of voicing evidence that often exclude or render the human body invisible. Engaging the proposed speculative legal futures that question necessary modes of reform in international law, Kazan posits poetic testimony amongst such methods for empowering the subject affected by internationally perpetrated violence, experienced through armed conflict and climate disaster. Further, Kazan questions the modes of solidarity that can be engaged through poetic testimony, in connecting communities and contexts dealing with the effects of violence that fall outside of international law’s conceptual frame of accountability. Speculative Legal Futures and the Poetic Testimony of Violence By Helene Kazan An embodied presentation of collated audio/visual material, touching different temporal and spatial contexts encountered through Kazan's work. Performance lecture will be followed by a conversation with Toby Lee and Josh Guilford. 4/4 Cambridge, Massachusetts: Harvard Film Archive http://hcl.harvard.edu/hfa <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=1e33097877&e=f36020cad0> 7pm, 24 Quincy Street IN ORDER FOR DISORDER: AN EVENING WITH FERN SILVA $12 Special Event Tickets - Fern Silva in Person Presenting his own films as well as influential works, Silva takes us on a trip by blurring geographical locations and blending cinematic strategies associated with non-fiction film making. Derived from the witty, raw and formally groundbreaking work of Peter Hutton, Betzy Bromberg and Thom Andersen, Silva intricately weaves parallels that conjure disparate histories within his own subject matter and those of his counterparts, pulling the viewer in for the sake of disruption: from the smoky plumes in Boston Fire (Hutton) to the weightlessness of a hovering camera and upheaval in Passage Upon the Plume, followed by devastating loss in Ride Like Lightning, Crash Like Thunder and Ciao Bella (Bromberg), outward through the phenomena of missing time in The Watchmen and dramatically charged soundtrack of Melting (Andersen). Rooted in histories of experimental film and ethnography, Fern Silva’s works are sensuous, polyvocal montages of people and places, the natural and unnatural worlds. Silva uses his own field recordings, clips from widely viewed films, and footage from obscure or pedestrian broadcast sources to upend the progressive linearity of conventional storytelling in a move toward narrative disorder; he does this by surfacing various historical moments within more contemporary ones and venturing into narratives of darkness, destruction and the paranormal. Some of Silva’s films render specific geographical locations as speculative realities, blending fictitious and real aspects of their social and cultural histories, while others are atmospheric and surreal, foregrounding the playfulness and rigor of Silva’s associative strategies. – Alicia Ritson, New Museum 4/4 Los Angeles, California: Echo Park Film Center http://www.echoparkfilmcenter.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=c8c89d8ae3&e=f36020cad0> 8 pm, 1200 N. Alvarado St OPEN SCREEN Our monthly Open Screen invites YOU to share your film with the feisty EPFC audience! Any genre! Any style! New, old, work-in-progress! First come, first screened; one film per filmmaker; 10-minute maximum. DVD, VHS, mini-DV, DV-CAM, Super 8, standard 8mm, 16mm. See you there! 4/4 San Francisco, CA United States: San Francisco Cinematheque http://www.sfcinematheque.org <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=5f6cf81b98&e=f36020cad0> 7:30 PM, 701 Mission St GLASS HOUSE: FILMS OF ARIANA GERSTEIN FILMMAKER ARIANA GERSTEIN IN PERSON Recalling at times the lush animation works of Gunvor Nelson, the tactile films of Ariana Gerstein reconcile her fascination with filmic materiality with the soft ephemeralities of light, time and memory. Using complex hand-wrought editing methods and extensive optical printing, Gerstein’s work dazzles in its visual complexity and rhythmic timing. Gerstein’s recent work innovatively integrates desktop image scanners into her analog filmmaking process, capturing minute personal gestures in a sort of slow-motion real-time animation process, creating a visuality both intimate and abstract. Tonight’s screening comprises a mini-retrospective of these works, 2000–2018, including CLOSE THE LID, GENTLY; PERFORMANCE FOR PERFECTION 1200; IMAGES OF FLYING AND FALLING; UPCYCLES; IN GLASS HOUSES; SKIN IN THE GAME AND TRACES WITH ELIKEM. (Steve Polta) See full details here: bit.ly/2VH7xpy FRIDAY, APRIL 5, 2019 4/5 Brooklyn, NY United States: UnionDocs http://www.uniondocs.org <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=86cb876298&e=f36020cad0> 7:30 PM, 322 Union Ave TELL ME WHEN YOU DIE Tell Me When You Die: Politics, Performance and Queer Love in the Time of Capitalism With Amber Bemak, Nadia Granados, Ruth Somalo and Almudena Escobar López We are thrilled to have an evening organized with Filmmaker/Curator Ruth Somalo to traverse the space between physical limitations and freedom politically and corporally. Filmmakers Amber Bemak and Nadia Granados will present “Tell Me When You Die“, a trilogy of performative films that reframe porn as a genre which can be empowering in its engagement with women and their bodies. Bemak and Granados work collaboratively with text, language, and the body to illustrate the colonial narratives that are still deeply entrenched and grappled with amongst minorities. Curator/Researcher Almudena Escobar López will join Ruth, Amber and Nadia in conversation to discuss the politics and reclamation of the nude body as a site for empowerment and experimentation within filmmaking. ----------- PROGRAM ----------- Tell Me When You Die 12 min., 2014 Borderhole 14 min., 2016 Goodbye Fantasy 15 min., 2018 SATURDAY, APRIL 6, 2019 4/6 San Francisco: Other Cinema http://www.othercinema.com/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=5685349fb2&e=f36020cad0> 8pm, 992 Valencia Street RENWICK + SCOBIE + WAXY TOMB ALL-WOMEN::AUDIO-VISUAL!!..a Live A/V expo of expanded-cinema work from local, regional, and international artists. Vanessa Renwick coasts down from Portland to premiere Cold Holy Water, a lyrical paean to orca whale maternity, with original score by Marisa Anderson...as well as to share her earlier Mighty Tacoma. Linda Scobie conjures up her own real-time electronic track as she advances through her suite of sewn(!) 35mm slides, On the Mend. Waxy Tomb, also proffers a premiere--her Shatter Pattern, a digital-process piece on graphic forms found in nature. The kino-klatch is crowned with UK-based Vicki (PLU) Bennett’s The Mirror, her new long-form compendium of cinematic spaces, architectures, and gestures. PLUS Soda_Jerk, Lillian Schwartz, and Lynne Sachs/Chris Marker’s Three Cheers for the Whale.*$9.99 SUNDAY, APRIL 7, 2019 4/7 Durham, NC: UNEXPOSED Microcinema http://www.thesmythbrothers.com/unexposed <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=709124efd4&e=f36020cad0> 5:30pm, 8pm, 900 East Club Boulevard, Unit 2200-D, Durham, NC SINGLE FRAME Single Frame is a showcase of experimental documentary shorts in Durham, North Carolina, situated around Full Frame Documentary Film Festival. There will be two screenings at 5:30pm and 8pm, 12 short documentaries in total. Works by Shane Christian Eason, Claudia Zamora, Léa Lanoë, David Sherman, Lisa Danker, Sabine Gruffat, Laurids Sonne, Isabelle Carbonell, Sean Hanley, Daniel Robin, Erfan Ghasempour, and Alex Faoro. 4/7 Los Angeles, California: Filmforum http://www.lafilmforum.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=b1c18f596e&e=f36020cad0> 7:30 pm, Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd. ARIANA GERSTEIN: TRACES AND MEMORIES Los Angeles Filmforum presents Ariana Gerstein: Traces and Memories Sunday, April 7, 2019, 7:30 pm At the Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd., Los Angeles, CA 90028 Ariana Gerstein in person! Ariana Gerstein joins us from New York to present her remarkable animations and experimental films, often using imagery created from scanners. “The tactile films of Ariana Gerstein reconcile her fascination with filmic materiality with the soft ephemeralities of light, time and memory. Using complex hand-wrought editing methods and extensive optical printing Gerstein’s work dazzles in its visual complexity and rhythmic timing. Gerstein’s recent work innovatively integrates desktop image scanners into her analog filmmaking process, capturing minute personal gestures in a sort of slow-motion real-time animation process, creating a visuality both intimate and abstract. Tonight’s screening comprises a mini-retrospective of these works, 2000–2018, including Close the Lid, Gently; Performance for Perfection 1200; Images of Flying and Falling; upCycles; In Glass Houses; Skin in The Game and Traces with Elikem.” (Steve Polta) Tickets: $10 general; $6 students (with ID)/seniors; free for Filmforum Members. Available in advance from Brown Paper Tickets at https://arianagerstein.bpt.me or at the door. _____ 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=3bf27d6431&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=d58c25814d&e=f36020cad0> . <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=56dadb4dda&e=f36020cad0>
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