<https://gallery.mailchimp.com/e4e99825c1d97f8de6eaffad3/images/c6a4b757-b14c-4ec9-b8c6-9553961a080e.gif> This week [June 29-July 7, 2019] in avant garde cinema Enter your event announcements by going to the <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=1c5dc52d6a&e=f36020cad0> Flicker Weekly Listing Form. 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(Torrington, CT, USA; Deadline: July 01, 2019) <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=d84d54b8b4&e=f36020cad0> http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=2030.ann Short Films About Climate Change (Berlin, Germany; Deadline: July 05, 2019) <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=8ca275cb66&e=f36020cad0> http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=2033.ann Events are sorted alphabetically BY CITY within each DATE. This week's programs (summary): * Cineinfinito #94: Massimo Bacigalupo [June 29, Madrid, Spain] * David Brooks, Pgm 2: the Wind Is Driving Him Toward the Open Sea [June 29, New York, NY] * Xzxaturdae Mronring Arrtrmnns [June 29, Oakland] * Risco Cinema - the Great Wall [June 29, Rio de Janeiro - Brazil] * Ec: Robert Breer Pgm [June 30, New York, NY] * David Brooks, Pgm 3: Unfinished Works: Carolyn and Me [June 30, New York, NY] * David Brooks, Pgm 4: Unfinished Works: Selected Fragments [June 30, New York, NY] * David Brooks, Pgm 1: Shorts [July 1, New York, NY] * David Brooks, Pgm 2: the Wind Is Driving Him Toward the Open Sea [July 1, New York, NY] * Chantal Akerman'S My Mother Laughs [July 2, Brooklyn, NY United States] * Gwendolyn Audrey Foster - Handmade Experimental Films [July 4, Utrecht, The Netherlands] * Cineinfinito #93: Jim Jennings [July 5, Santander, Spain] * Cineinfinito #95 &Amp; 96: Milena Gierke [July 5, Santander, Spain] SATURDAY, JUNE 29, 2019 6/29 Madrid, Spain: Círculo de Bellas Artes 9:30 PM, Alcalá 42 CINEINFINITO #94: MASSIMO BACIGALUPO CINEINFINITO / Cine Estudio - Círculo de Bellas Artes Sábado 29 de Junio de 2019, 21:30h, Círculo de Bellas Artes Calle Alcalá, 42 28014 Madrid Programa: · 60 metri per il 31 marzo (1968)** 8mm, b&w, silente, 15 min. · Versus (1968)** 16mm, b&w, silente, 14 min. · Migrazione (1970)* 16mm, b&w, sonora, 60 min. · Ricercar (1973)** 16mm, color, sonora, 5 min. La sesión contará con la presentación de Massimo Bacigalupo Formato de proyección: HD (cortesía de CSC Archivio Nazionale Cinema* y Home Movies: Archivio Nazionale del Film di Famiglia**) Agradecimiento especial a Massimo Bacigalupo, Mirco Santi y CSC Archivio Nazionale Cinema https://www.cineinfinito.org/cineinfinito-massimo-bacigalupo/ 6/29 New York, NY: Anthology Film Archives <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=7c41cc4471&e=f36020cad0> http://www.anthologyfilmarchives.org/ 7:30 PM, 32 Second Avenue DAVID BROOKS, PGM 2: THE WIND IS DRIVING HIM TOWARD THE OPEN SEA Born in 1944 in Chelsea, Massachusetts, David Brooks entered Columbia University in the early 1960s, where he immersed himself in the study of philosophy and psychology, with a particular interest in psychoanalysis and the work of Freud. During this time Brooks met critic and filmmaker Jonas Mekas and immediately got involved in New York's burgeoning independent and experimental film scene. By 1962 Mekas had personally enlisted Brooks, then only 18 years old, to be the first Executive Director of the newly established Film-Makers' Cooperative. He compiled the Coop's first distribution catalog that same year. Brooks soon left Columbia to dedicate himself to making films. For an all-too-short window, he was a leading filmmaker of his era, his films screening in programs with the likes of Bruce Conner, Ron Rice, and Stan Brakhage. He eventually took a film teaching position in 1968 at Antioch College in Yellow Springs, Ohio. Sadly, Brooks only completed six films before his tragic death in 1969, at age 24. His singular films, which typically combine mesmerizing sound collages with lush imagery from his daily life, are lyrical, personal, honest, and transcendent. To celebrate his life and work on the fiftieth anniversary of his death, we're proud to host a complete retrospective and reintroduce this still under-recognized figure. All the films have been preserved by Anthology including the preservation premieres of two of Brooks's best remembered works, NIGHTSPRING DAYSTAR and WINTER '64-'66! "David Brooks established himself during the 1960s as one of the most prominent lyricists of the experimental cinema. His work was eclipsed by his early death in 1969 at the age of twenty-four and throughout the next decade by the cooler, more controlled sensibility of structural film. As a consequence, his films are scarcely remembered today, which is particularly unfortunate since at least two of them - NIGHTSPRING DAYSTAR and THE WIND IS DRIVING HIM TOWARD THE OPEN SEA - deserve a place as among the most important films of this period." -J.J. Murphy, FILM CULTURE "That Brooks's films are as fresh now as the day they were made is a fact that must be faced." -David Ehrenstein Special thanks to Carolyn Brooks, Jonas Mekas, Andrew Lampert, the National Film Preservation Foundation, The Film Foundation, The George Lucas Family Foundation, Cineric, Western Cine, Colorlab, and Audio Mechanics. PROGRAM 2: THE WIND IS DRIVING HIM TOWARD THE OPEN SEA (1968, 52 min, 16mm. Preserved by Anthology Film Archives with support from the National Film Preservation Foundation.) "In the beginning a philosopher tells of seeing his hero, DiMaggio, hit a home run. How did he know he hit a home run? He checked the newspapers. How did they know? The philosophers ask, 'How can we prove that this is grass?' How do we know anything? THE WIND… is about those explorations one must make to find out about the world. The object of any man's exploration must ultimately be a woman, a kumari. In the film a boy travels, while we search for a man, Chandler Moore. He is never found, but we see the world he has made for himself. When one does not find a kumari one often finds a kumiss. A film in numerous realities including those of image, news, myth, philosophy, documentary, mythopoeia." -David Brooks "David Brooks manages to fuse in it a number of different techniques which, till now, have been used only in non-narrative, poetic film-techniques such as single frame, free, impressionistic camera movement, almost total plotlessness, etc. The other thing I like about THE WIND is a fascinating melancholy that surrounds it. Its narrative of moods, of reflection, of things lost, gone, like autumn leaves - no tragedy, really, only a mood of melancholy, of sadness - of friends, of ways of life, of cultures gone, of ages coming and going - these are just some of the notes that the film strikes. Romanticism? Perhaps." -Jonas Mekas, MOVIE JOURNAL With: David Brooks & Ira Schneider REDCAP and PEANUT BUTTER ON MY ROOF (1965, 14 min, 16mm. Preserved by Anthology Film Archives with support from the Andy Warhol Foundation for the Visual Arts.) "A mutual venture of a most inordinate sort. Vaguely a mistake, but fun at that." -David Brooks & Ira Schneider Total running time: ca. 70 min. 6/29 Oakland: Black Hole Cinematheque <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=c81c16838b&e=f36020cad0> https://www.facebook.com/xvxvxvxo 11am, Black Hole XZXATURDAE MRONRING ARRTRMNNS announcing more dates in the final days programming for black hole cinematheque 6/29 Rio de Janeiro - Brazil: Risco Cinema <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=b3396b77e1&e=f36020cad0> facebook.com/RISCOcinema 17h, MAM cinematheque in Rio de Janeiro RISCO CINEMA - THE GREAT WALL The Great Wall (2015, 72 minutes, Ireland), Tadhg O'Sullivan. Screening followed by discussion with Lucas Murari. SUNDAY, JUNE 30, 2019 6/30 New York, NY: Anthology Film Archives <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=d4b91c4ce5&e=f36020cad0> http://www.anthologyfilmarchives.org/ 2:45 PM, 32 Second Avenue EC: ROBERT BREER PGM With the exception of MOTION PICTURES NO. 1, PAT'S BIRTHDAY, BREATHING, and GULLS AND BUOYS, all of the films in this program were preserved by Anthology with generous support from the Andy Warhol Foundation for the Visual Arts and the National Endowment for the Arts. FORM PHASES I (1952, 2 min, 16mm) FORM PHASES II (1953, 2 min, 16mm) RECREATION (1956, 1.5 min, 16mm-to-35mm) MOTION PICTURES NO. 1 (1956, 4.5 min, 16mm, silent) JAMESTOWN BALOOS (1957, 6 min, 16mm-to-35mm) EYEWASH (1959, 3 min, 16mm-to-35mm) BLAZES (1961, 3 min, 16mm-to-35mm) PAT'S BIRTHDAY (1962, 13 min, 16mm, b&w) BREATHING (1963, 5 min, 35mm, b&w) FIST FIGHT (1964, 9 min, 16mm-to-35mm) 66 (1966, 5.5 min, 16mm-to-35mm) 69 (1969, 4.5 min, 16mm-to-35mm) 70 (1970, 5 min, 16mm-to-35mm) GULLS AND BUOYS (1972, 8 min, 16mm) FUJI (1974, 9 min, 16mm-to-35mm) "Roughly speaking [Breer's] works belong to that category of films generally called 'abstract' (though his are also highly 'concrete'), but differ from everything else that has been done along these lines in one basic respect: Breer is undoubtedly the first filmmaker to have brought to his medium the full heritage of modern painting and the sum of sophisticated experimentation that it represents." - Noël Burch, FILM QUARTERLY Total running time: ca. 85 min. 6/30 New York, NY: Anthology Film Archives <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=e187d1f5dd&e=f36020cad0> http://www.anthologyfilmarchives.org/ 5:00 PM, 32 Second Avenue DAVID BROOKS, PGM 3: UNFINISHED WORKS: CAROLYN AND ME Born in 1944 in Chelsea, Massachusetts, David Brooks entered Columbia University in the early 1960s, where he immersed himself in the study of philosophy and psychology, with a particular interest in psychoanalysis and the work of Freud. During this time Brooks met critic and filmmaker Jonas Mekas and immediately got involved in New York's burgeoning independent and experimental film scene. By 1962 Mekas had personally enlisted Brooks, then only 18 years old, to be the first Executive Director of the newly established Film-Makers' Cooperative. He compiled the Coop's first distribution catalog that same year. Brooks soon left Columbia to dedicate himself to making films. For an all-too-short window, he was a leading filmmaker of his era, his films screening in programs with the likes of Bruce Conner, Ron Rice, and Stan Brakhage. He eventually took a film teaching position in 1968 at Antioch College in Yellow Springs, Ohio. Sadly, Brooks only completed six films before his tragic death in 1969, at age 24. His singular films, which typically combine mesmerizing sound collages with lush imagery from his daily life, are lyrical, personal, honest, and transcendent. To celebrate his life and work on the fiftieth anniversary of his death, we're proud to host a complete retrospective and reintroduce this still under-recognized figure. All the films have been preserved by Anthology including the preservation premieres of two of Brooks's best remembered works, NIGHTSPRING DAYSTAR and WINTER '64-'66! "David Brooks established himself during the 1960s as one of the most prominent lyricists of the experimental cinema. His work was eclipsed by his early death in 1969 at the age of twenty-four and throughout the next decade by the cooler, more controlled sensibility of structural film. As a consequence, his films are scarcely remembered today, which is particularly unfortunate since at least two of them - NIGHTSPRING DAYSTAR and THE WIND IS DRIVING HIM TOWARD THE OPEN SEA - deserve a place as among the most important films of this period." -J.J. Murphy, FILM CULTURE "That Brooks's films are as fresh now as the day they were made is a fact that must be faced." -David Ehrenstein Special thanks to Carolyn Brooks, Jonas Mekas, Andrew Lampert, the National Film Preservation Foundation, The Film Foundation, The George Lucas Family Foundation, Cineric, Western Cine, Colorlab, and Audio Mechanics. PROGRAM 3: UNFINISHED WORKS: CAROLYN AND ME CAROLYN AND ME: PARTS 1-3 (ca. 1968, 104 min, 16mm, silent) Filmed primarily in 1968, CAROLYN AND ME was in-progress when Brooks died in 1969. Intended to be a sound film, the unfinished film is presented exactly as prepared by Brooks for a first-stage workprint and is silent. Part One: "fields trees sky/Jeff/driving/girl/David-Martha's Vineyard/postcard/TV/David's room-7th Street/David writing letter/grandfather/sky/NYC bus-inside/lake/Carolyn shooting/kyack/sunrise-beach/C in hammock/sun sky lake/inside looking out/flashing sky/ducks/Carolyn, Marni & Hermann at beach/Holmstroms/c d m & h playing and shooting at beach and leaving/ducks trees house/driving in red sky/Mike/misty fields horses/inside refrigerator/lake house dock/driving/sunset/" -Carolyn Brooks Part Two: "trees/sister Judy & boyfriend/house lake/C driving/trees etc/C cooking/neighborhood picnic/D walking in woods/from mountain/bird/C & D in house/from lake/NYC streets/Fillmore crowd/city night lights/D & C walking/Dan & Delia reading in bed/office/C making popcorn/C & D eating popcorn/in house/Brocks/people leaving Washington march in red sunset/train station and leaving/Rosie's Candy Store (7th St.)/Driving night light/kitten/trees/dinner at Brocks-candlelight/blue woods/VW bus/blue night sky/C talking/C washing dishes/C wearing funny hat smiling" -Carolyn Brooks Part Three: "white horse circus/Ridgefield cabin/Marni Hermann Carolyn at fire/driving/snow/candle/C brushing teeth/two Tibetan Buddhist monks/breakfast at Woodbridge-C with father/airplanes/New Hampshire lake sun/Boynton's (N.H.) breakfast/Paradox, N.Y.-children and goat/prison/people in water/Tibetan seminar/D walking/C & D hugging/driving/C in sari/Jon/swimming/Middletown cows in field/snow-trees/driving/Speeds Diner/Merka taking pix/C in bathing suit/fall woods/sunset/Chandler Moore's house-M.V." -Carolyn Brooks 6/30 New York, NY: Anthology Film Archives <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=f898c58d26&e=f36020cad0> http://www.anthologyfilmarchives.org/ 7:30 PM, 32 Second Avenue DAVID BROOKS, PGM 4: UNFINISHED WORKS: SELECTED FRAGMENTS Born in 1944 in Chelsea, Massachusetts, David Brooks entered Columbia University in the early 1960s, where he immersed himself in the study of philosophy and psychology, with a particular interest in psychoanalysis and the work of Freud. During this time Brooks met critic and filmmaker Jonas Mekas and immediately got involved in New York's burgeoning independent and experimental film scene. By 1962 Mekas had personally enlisted Brooks, then only 18 years old, to be the first Executive Director of the newly established Film-Makers' Cooperative. He compiled the Coop's first distribution catalog that same year. Brooks soon left Columbia to dedicate himself to making films. For an all-too-short window, he was a leading filmmaker of his era, his films screening in programs with the likes of Bruce Conner, Ron Rice, and Stan Brakhage. He eventually took a film teaching position in 1968 at Antioch College in Yellow Springs, Ohio. Sadly, Brooks only completed six films before his tragic death in 1969, at age 24. His singular films, which typically combine mesmerizing sound collages with lush imagery from his daily life, are lyrical, personal, honest, and transcendent. To celebrate his life and work on the fiftieth anniversary of his death, we're proud to host a complete retrospective and reintroduce this still under-recognized figure. All the films have been preserved by Anthology including the preservation premieres of two of Brooks's best remembered works, NIGHTSPRING DAYSTAR and WINTER '64-'66! "David Brooks established himself during the 1960s as one of the most prominent lyricists of the experimental cinema. His work was eclipsed by his early death in 1969 at the age of twenty-four and throughout the next decade by the cooler, more controlled sensibility of structural film. As a consequence, his films are scarcely remembered today, which is particularly unfortunate since at least two of them - NIGHTSPRING DAYSTAR and THE WIND IS DRIVING HIM TOWARD THE OPEN SEA - deserve a place as among the most important films of this period." -J.J. Murphy, FILM CULTURE "That Brooks's films are as fresh now as the day they were made is a fact that must be faced." -David Ehrenstein Special thanks to Carolyn Brooks, Jonas Mekas, Andrew Lampert, the National Film Preservation Foundation, The Film Foundation, The George Lucas Family Foundation, Cineric, Western Cine, Colorlab, and Audio Mechanics. PROGRAM 4: UNFINISHED WORKS: SELECTED FRAGMENTS EARLY FRAGMENTS (1963-66, 28 min, 16mm-to-digital) LATE FRAGMENTS (1966-69, 30 min, 16mm-to-digital) These reels were compiled from loose footage and fragments shortly after Brooks's death by Jonas Mekas and Carolyn Brooks. They have rarely, if ever, screened publicly. Total running time: ca. 65 min. MONDAY, JULY 1, 2019 7/1 New York, NY: Anthology Film Archives <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=6ce2608527&e=f36020cad0> http://www.anthologyfilmarchives.org/ 7:00 PM, 32 Second Avenue DAVID BROOKS, PGM 1: SHORTS Born in 1944 in Chelsea, Massachusetts, David Brooks entered Columbia University in the early 1960s, where he immersed himself in the study of philosophy and psychology, with a particular interest in psychoanalysis and the work of Freud. During this time Brooks met critic and filmmaker Jonas Mekas and immediately got involved in New York's burgeoning independent and experimental film scene. By 1962 Mekas had personally enlisted Brooks, then only 18 years old, to be the first Executive Director of the newly established Film-Makers' Cooperative. He compiled the Coop's first distribution catalog that same year. Brooks soon left Columbia to dedicate himself to making films. For an all-too-short window, he was a leading filmmaker of his era, his films screening in programs with the likes of Bruce Conner, Ron Rice, and Stan Brakhage. He eventually took a film teaching position in 1968 at Antioch College in Yellow Springs, Ohio. Sadly, Brooks only completed six films before his tragic death in 1969, at age 24. His singular films, which typically combine mesmerizing sound collages with lush imagery from his daily life, are lyrical, personal, honest, and transcendent. To celebrate his life and work on the fiftieth anniversary of his death, we're proud to host a complete retrospective and reintroduce this still under-recognized figure. All the films have been preserved by Anthology including the preservation premieres of two of Brooks's best remembered works, NIGHTSPRING DAYSTAR and WINTER '64-'66! "David Brooks established himself during the 1960s as one of the most prominent lyricists of the experimental cinema. His work was eclipsed by his early death in 1969 at the age of twenty-four and throughout the next decade by the cooler, more controlled sensibility of structural film. As a consequence, his films are scarcely remembered today, which is particularly unfortunate since at least two of them - NIGHTSPRING DAYSTAR and THE WIND IS DRIVING HIM TOWARD THE OPEN SEA - deserve a place as among the most important films of this period." -J.J. Murphy, FILM CULTURE "That Brooks's films are as fresh now as the day they were made is a fact that must be faced." -David Ehrenstein Special thanks to Carolyn Brooks, Jonas Mekas, Andrew Lampert, the National Film Preservation Foundation, The Film Foundation, The George Lucas Family Foundation, Cineric, Western Cine, Colorlab, and Audio Mechanics. PROGRAM 1: SHORTS JERRY (1963, 3 min, 16mm, silent. Preserved by Anthology Film Archives with support from the Andy Warhol Foundation for the Visual Arts) Brooks's black & white portrait of fabled underground filmmaker and collagist Jerry Jofen. "Part I: music as image… Part II: movement of the film-maker." -David Brooks "One of my all-time favorite films." -P. Adams Sitney NIGHTSPRING DAYSTAR (1964, 18 min, 16mm. Preservation Premiere!)Preserved by Anthology Film Archives through the National Film Preservation Foundation's Avant-Garde Masters Grant program and The Film Foundation. Funding provided by the George Lucas Family Foundation. Special thanks to Chris Hughes (Colorlab) and John Polito & Clay Dean (Audio Mechanics). "Dark to light, sadness to happiness, night to day; the film springs from the night through the dawn to the daystar, following the adventures of the mind on the way." -David Brooks "Something should be said about the soundtrack of this film. I know only two other films - FLAMING CREATURES and SCORPIO RISING - where the pop and jazz music has been used so hypnotically, so effectively without killing the image." -Jonas Mekas, MOVIE JOURNAL ROLAND KIRK (ca. 1964, 4 min, 16mm, silent. Preserved by Anthology Film Archives with support from the Andy Warhol Foundation for the Visual Arts.) Brooks edited this footage but never printed it in his lifetime. While we cannot know for sure the true origins of, or intentions for, this material, it is a stunning document of the legendary jazz musician. WINTER ('64-'66 1964-66, 1000 seconds, 16mm. Preservation Premiere!)Preserved by Anthology Film Archives through the National Film Preservation Foundation's Avant-Garde Masters Grant program and The Film Foundation. Funding provided by the George Lucas Family Foundation. Special thanks to Chris Hughes (Colorlab) and John Polito & Clay Dean (Audio Mechanics). "Door golden night room trees fire drip rain blue horse river snow birds green mountain forest dark room mist car tress window ducks are flying…. Overtones: Raga Palas Kafi, Grant's, Slug's, Bo Diddley, Jimmy Reed, Raga Rageshri, the wind, Chuck Berry, Marvin Gaye, the Beatles, Piatnitsky Chorus. Locales: Nantucket, Kazakhstan, Grant's, Nepal, Colorado, Mt. Kearsarge, Iowa, 7th Street." -David Brooks LETTER TO D.H. IN PARIS (1967, 4 min, 16mm. New Print!)Preserved by Anthology Film Archives with support from the Andy Warhol Foundation for the Visual Arts. "Stoned friends/music more music/fields/movement/play/spontaneous/very beautiful." -Carolyn Brooks EEL CREEK (1968, 7 min, 16mm. New Print!)Preserved by Anthology Film Archives with support from the Andy Warhol Foundation for the Visual Arts. "Fishing/boys and father/pure/simple/straight forward" -Carolyn Brooks Total running time: ca. 60 min. 7/1 New York, NY: Anthology Film Archives <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=879b129406&e=f36020cad0> http://www.anthologyfilmarchives.org/ 8:45 PM, 32 Second Avenue DAVID BROOKS, PGM 2: THE WIND IS DRIVING HIM TOWARD THE OPEN SEA Born in 1944 in Chelsea, Massachusetts, David Brooks entered Columbia University in the early 1960s, where he immersed himself in the study of philosophy and psychology, with a particular interest in psychoanalysis and the work of Freud. During this time Brooks met critic and filmmaker Jonas Mekas and immediately got involved in New York's burgeoning independent and experimental film scene. By 1962 Mekas had personally enlisted Brooks, then only 18 years old, to be the first Executive Director of the newly established Film-Makers' Cooperative. He compiled the Coop's first distribution catalog that same year. Brooks soon left Columbia to dedicate himself to making films. For an all-too-short window, he was a leading filmmaker of his era, his films screening in programs with the likes of Bruce Conner, Ron Rice, and Stan Brakhage. He eventually took a film teaching position in 1968 at Antioch College in Yellow Springs, Ohio. Sadly, Brooks only completed six films before his tragic death in 1969, at age 24. His singular films, which typically combine mesmerizing sound collages with lush imagery from his daily life, are lyrical, personal, honest, and transcendent. To celebrate his life and work on the fiftieth anniversary of his death, we're proud to host a complete retrospective and reintroduce this still under-recognized figure. All the films have been preserved by Anthology including the preservation premieres of two of Brooks's best remembered works, NIGHTSPRING DAYSTAR and WINTER '64-'66! "David Brooks established himself during the 1960s as one of the most prominent lyricists of the experimental cinema. His work was eclipsed by his early death in 1969 at the age of twenty-four and throughout the next decade by the cooler, more controlled sensibility of structural film. As a consequence, his films are scarcely remembered today, which is particularly unfortunate since at least two of them - NIGHTSPRING DAYSTAR and THE WIND IS DRIVING HIM TOWARD THE OPEN SEA - deserve a place as among the most important films of this period." -J.J. Murphy, FILM CULTURE "That Brooks's films are as fresh now as the day they were made is a fact that must be faced." -David Ehrenstein Special thanks to Carolyn Brooks, Jonas Mekas, Andrew Lampert, the National Film Preservation Foundation, The Film Foundation, The George Lucas Family Foundation, Cineric, Western Cine, Colorlab, and Audio Mechanics. PROGRAM 2: THE WIND IS DRIVING HIM TOWARD THE OPEN SEA (1968, 52 min, 16mm. Preserved by Anthology Film Archives with support from the National Film Preservation Foundation.) "In the beginning a philosopher tells of seeing his hero, DiMaggio, hit a home run. How did he know he hit a home run? He checked the newspapers. How did they know? The philosophers ask, 'How can we prove that this is grass?' How do we know anything? THE WIND… is about those explorations one must make to find out about the world. The object of any man's exploration must ultimately be a woman, a kumari. In the film a boy travels, while we search for a man, Chandler Moore. He is never found, but we see the world he has made for himself. When one does not find a kumari one often finds a kumiss. A film in numerous realities including those of image, news, myth, philosophy, documentary, mythopoeia." -David Brooks "David Brooks manages to fuse in it a number of different techniques which, till now, have been used only in non-narrative, poetic film-techniques such as single frame, free, impressionistic camera movement, almost total plotlessness, etc. The other thing I like about THE WIND is a fascinating melancholy that surrounds it. Its narrative of moods, of reflection, of things lost, gone, like autumn leaves - no tragedy, really, only a mood of melancholy, of sadness - of friends, of ways of life, of cultures gone, of ages coming and going - these are just some of the notes that the film strikes. Romanticism? Perhaps." -Jonas Mekas, MOVIE JOURNAL With: David Brooks & Ira Schneider REDCAP and PEANUT BUTTER ON MY ROOF (1965, 14 min, 16mm. Preserved by Anthology Film Archives with support from the Andy Warhol Foundation for the Visual Arts.) "A mutual venture of a most inordinate sort. Vaguely a mistake, but fun at that." -David Brooks & Ira Schneider Total running time: ca. 70 min. TUESDAY, JULY 2, 2019 7/2 Brooklyn, NY United States: Light Industry <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=e33c2ffcc9&e=f36020cad0> http://www.lightindustry.org/ 7:00 PM, 155 Freeman St CHANTAL AKERMAN'S MY MOTHER LAUGHS Readings from Chantal Akerman’s My Mother Laughs With Corina Copp, Tobi Haslett, Courtney Stephens, and Lynne Tillman + Family Business, Chantal Akerman, 1984, digital projection, 17 mins THURSDAY, JULY 4, 2019 7/4 Utrecht, The Netherlands: Cinetoon De Nijverheid <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=d34fc43114&e=f36020cad0> https://vimeo.com/340509942 8PM, Cinetoon De Nijverheid, Utrecht, The Netherlands GWENDOLYN AUDREY FOSTER - HANDMADE EXPERIMENTAL FILMS Cinetoon De Nijverheid in Utrecht presents "Handmade Experimental Films of Gwendolyn Audrey Foster" on July 4m at 8PM. A program of personal handpainted 16mm, Super 8mm films, as well as short experimental Dada films from found archival footage, presented by the artist, in person. For more information, here is a trailer with complete film notes: https://vimeo.com/340509942 Also see: https://vimeopro.com/gwendolynaudreyfoster/experimental-films/page/1 FRIDAY, JULY 5, 2019 7/5 Santander, Spain: Centro Cultural Doctor Madrazo 5:30 PM, Casimiro Sainz, S/N CINEINFINITO #93: JIM JENNINGS Cineinfinito #93: Jim Jennings CINEINFINITO / Centro Cultural Doctor Madrazo Viernes 5 de Julio de 2019, 17:30h, Centro Cultural Doctor Madrazo Calle Casimiro Sainz, s/n 39004 Santander Programa: · Leaves (1975), 16mm, color, silente, 8 min. · Wall street (also known as “Fall,” 1980), 16mm, b/w, silente, 6 min · Lost and Found (1983/2013) 16mm, b/w, silente, 5 min · Bye Bye Bob (1990), 16mm, b/w, sonora, 10 min · Silvercup (1998) 16mm, b/w, silente, 12 min · Day Dream (2001) 16mm, b/w, silente, 7 min. · Elements (2002) 16mm, b/w, silente, 7 min.) · Close Quarters (2005) 16mm, b/w, silente, 8 min · Silk Ties (2006), 16mm, b/w, silente, 7 min · Made in Chinatown (2006) 16mm, color, silente, 8 min Formato de proyección: HD (nuevos transfers digitales en exclusiva para esta sesión) Agradecimiento especial a Jim Jennings, Karen Treanor y Genevieve Havemeyer-King https://www.cineinfinito.org/cineinfinito-93-jim-jennings/ 7/5 Santander, Spain: Centro Cultural Doctor Madrazo 7:15 PM, Casimiro Sainz, S/N CINEINFINITO #95 & 96: MILENA GIERKE Cineinfinito #95 & #96: Milena Gierke CINEINFINITO / Centro Cultural Doctor Madrazo Viernes 5 de Julio de 2019, 19:15h. Centro Cultural Doctor Madrazo Calle Casimiro Sainz, s/n 39004 Santander Programa 1: · Mainstream (1999), Super 8mm / color / silente / 3′ 00 · Entgegen (1999), Super 8mm / color / silente / 3′ 00 · Wasserspiel II+III (1997), Super 8mm / color / silente / 3′ 00 · Wasserspiel I (1997), Super 8mm / color / silente / 2′ 44 · Zeit (1991), Super 8mm / color / silente / 9′ 00 · Membran (2000), Super 8mm / color / silente / 3′ 00 · Keltern (1993), Super 8mm / color / silente / 2′ 30 · rouge, blanc, verre (2004), Super 8mm / color / silente / 9′ 00 Programa 2: · Klinik (2001), Super 8mm / color / silente / 6′ 00 · Spiegelungen (1992), Super 8mm / color / silente / 2′ 00 · Windows (1996), Super 8mm / color / silente / 3′ 00 · Autoblicke (1990), Super 8mm / b&w / silente / 2′ 00 · Beware of Jet Blast, Props and Rotors (1995), Super 8mm / b&w / silente / 3′ 35 · Fremder Mann II (1992), Super 8mm / color / silente / 3′ 32 · Sommererfrischung (1997), Super 8mm / color / silente / 3′ 00 · France – Brazil in New York (1998), Super 8mm / color / silente / 3′ 00 · Sixteen candles (1990), Super 8mm / color / sonora / 15′ 00 Formato de proyección: HD (Copia cortesía de Arsenal) Agradecimiento especial a Milena Gierke , Angelika Ramlow y Alexander Boldt Programa 1: https://www.cineinfinito.org/cineinfinito-95-milena-gierke/ Programa 2: https://www.cineinfinito.org/cineinfinito-96-milena-gierke/ _____ Let us know about your alternative film/video event! 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