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This week [June 29-July 7, 2019] in avant garde cinema







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 Cineinfinito #93: Jim Jennings [July 5, Santander, Spain] 

NEW CALLS FOR ENTRIES:
Winter Film Awards International Film Festival (New York, NY, USA; Deadline: 
November 15, 2019)
  
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Braziers International Film Festival (Ipsden, Oxfordshire, UK; Deadline: 
September 01, 2019)
  
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DEADLINES APPROACHING:
Engauge Experimental Film Festival (Seattle, WA USA; Deadline: July 01, 2019)
  
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Then, What If? (Torrington, CT, USA; Deadline: July 01, 2019)
  
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Short Films About Climate Change (Berlin, Germany; Deadline: July 05, 2019)
  
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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
 
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 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
 
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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
 
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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
 
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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
 
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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
 
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 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
 
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 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
 
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 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/

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