<https://gallery.mailchimp.com/e4e99825c1d97f8de6eaffad3/images/c6a4b757-b14c-4ec9-b8c6-9553961a080e.gif> This week [September 22 - 29, 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=74d256eb80&e=f36020cad0> Flicker Weekly Listing Form. To receive the weekly listing via email: <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=0bd1a7ee14&e=f36020cad0> Subscribe. <https://www.lafilmforum.org/assets/Uploads/Screenings/_resampled/FitWyIzODAiLCIyNjYiXQ/Midnight-orange-22947.jpg> Apparitions: Recent Handmade Wonders From the French Film Lab L’Abominable [September 22, Los Angeles, California] <https://bamlive.s3.amazonaws.com/styles/program_slide/s3/Soltero_Lupe_001_1200.jpg?itok=Ma6u2wI-> Ism, Ism, Ism: Latin Camp [September 25, Berkeley, California] NEW CALLS FOR ENTRIES: 27th Chicago Underground Film Festival (IL; Deadline: January 03, 2020) <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=f335b5e6de&e=f36020cad0> http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=2044.ann Black Girl* Magic Film Series (Berlin, Germany; Deadline: January 15, 2020) <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=230d8b7043&e=f36020cad0> http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=2045.ann IMAGE-SOUND-JUXTAPOSITION (Berlin, Germany; Deadline: September 30, 2019) <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=4929473136&e=f36020cad0> http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=2046.ann NOFLASH Video Show (New Brunswick, NJ, USA; Deadline: December 15, 2019) <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=d44d27b817&e=f36020cad0> http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=2047.ann Ann Arbor Film Festival (Ann Arbor, MI, United States; Deadline: October 01, 2019) <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=c91ac9008c&e=f36020cad0> http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=2048.ann Light Field (San Francisco, CA; Deadline: December 15, 2019) <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=a2b3dad7ab&e=f36020cad0> http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=2049.ann DEADLINES APPROACHING: Black Maria Film Festival (Hoboken, NJ, USA; Deadline: October 15, 2019) <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=4f171541e6&e=f36020cad0> http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=2032.ann RISC / International Science & Film Festival (France; Deadline: September 30, 2019) <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=98f6f7270f&e=f36020cad0> http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=2042.ann IMAGE-SOUND-JUXTAPOSITION (Berlin, Germany; Deadline: September 30, 2019) <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=11529776e4&e=f36020cad0> http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=2046.ann Ann Arbor Film Festival (Ann Arbor, MI, United States; Deadline: October 01, 2019) <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=84c5b5b8c9&e=f36020cad0> http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=2048.ann Events are sorted alphabetically BY CITY within each DATE. This week's programs (summary): * The Still Life of Harley Prosper [September 22, Brooklyn, NY United States] * Apparitions: Recent Handmade Wonders From the French Film Lab L’Abominable [September 22, Los Angeles, California] * Emotional Archives and Corporeal Interiors [September 23, Brooklyn, NY United States] * Juan Pablo GonzÁLez: Caballerango [September 23, Los Angeles, CA United States] * Possibly In Michigan + the Fetishist [September 24, Brooklyn, NY United States] * Ismo Ismo Ismo: Superficies Alteradas/Altered Surfaces [September 24, Mexico City] * Ism, Ism, Ism: Latin Camp [September 25, Berkeley, California] * Autorretratos Feministas [September 26, Brooklyn, NY United States] * Makino Takashi: Memento Stella [September 26, San Francisco, California] * Cineinfinito #102: Abbott Meader (I) [September 27, Santander, Spain] * Cineinfinito #103: Abbott Meader (Ii) [September 27, Santander, Spain] * Optron 1: Hand Processing [September 28, San Francisco] * Can the Addict Speak [September 29, Brooklyn, NY United States] * Ec: Hollis Frampton [September 29, New York, NY] SUNDAY, SEPTEMBER 22, 2019 9/22 Brooklyn, NY United States: UnionDocs <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=72bf319ecf&e=f36020cad0> http://www.uniondocs.org 7:30 PM, 322 Union Ave THE STILL LIFE OF HARLEY PROSPER We are excited to welcome Juan Manuel Sepúlveda to present his most recent feature, The Still Life of Harley Prosper co-presented with Latin Film Reel. An esteemed cinematographer, Sepúlveda takes the documentary interview to a new extreme, in this claustrophobic exploration of the mind of a dying man escaping his legacy as the spiritual conscience of his Native American community. Sepúlveda traces his protagonists struggle to come to terms with a quickly approaching death, his struggle with addiction, and the reliance of others on those who can no longer provide. Prosper wanted to leave a testimony of this struggle, and his family, Cree Nation people from the plains, have almost disappeared. Sepulveda writes “He has something very important to tell me and it will be better if I bring the camera. A film starts developing as a testimonial account of a man who was chosen to become the medicine man of his community and who decided to deny his responsibility… during three weeks, day and night, Harley and I made a film about the fascinating path of a man who keeps prolonging his sacred mission until the last moment.” We’re delighted to have Juan Manuel Sepúlveda in attendance for conversation following the film. 9/22 Los Angeles, California: Filmforum <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=42b9d900a2&e=f36020cad0> http://www.lafilmforum.org/ 7:30 pm, Echo Park Film Center, 1200 N. Alvarado St., APPARITIONS: RECENT HANDMADE WONDERS FROM THE FRENCH FILM LAB L’ABOMINABLE L’Abominable is an artist-run film laboratory near Paris. Since 1996, it offers filmmakers the tools to work with silver-based film material: super-8, 16mm and 35mm. Over the years, a wide array of makers have hand-produced an astonishing selection of films outside the realm of large corporations, including “live” film performances or installations using the film medium. The scope of what is produced there and the specificity of practices make L’Abominable a unique place of creation, a living conservatory of cinematographic techniques. Very much akin to the Echo Park Film Center, L’Abominable’s filmmakers retain the art and the artisanal in each hand-crafted frame. Filmforum hosts a new touring program of recent works by filmmakers there, all films having their LA premieres! Including Les films du dés-apparaître - #1 - Mes cheuvs dans ta, by Oscar Hache; Cailloux, rocher, algues, By David Dudouit; Midnight Orange, By Gautam Valluri; El Oro de Cajamarca, By Alexandre Regol; Trilogie carnassière #1, by Carole Thibaud; Dos sueños después (Two Dreams Later), by Pilar Monsell; Cactos, a film by Leonor Guerra; Septième Fraction (Seventh Fraction), By Guillaume Mazloum. Tickets: $10 general; $6 students (with ID)/seniors; free for Filmforum Members. Available in advance from Brown Paper Tickets at https://labominable.bpt.me or at the door. For more information: www.lafilmforum.org <http://www.lafilmforum.org> or 323-377-7238. MONDAY, SEPTEMBER 23, 2019 9/23 Brooklyn, NY United States: Microscope Gallery <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=c5a3f36243&e=f36020cad0> http://www.microscopegallery.com 7:30 PM, 1329 Willoughby Ave, # 2B EMOTIONAL ARCHIVES AND CORPOREAL INTERIORS We are very pleased to welcome back to the gallery filmmaker and curator Devon Narine-Singh, this time for a curated screening program of films by MM Serra and Stephen Broomer. Program: Turner (1987) By MM Serra, 16mm film, sound, 3 minutes Colorful, energetic, delicate and sensual, this early short by M.M. Serra presents her unique vision of eroticism and poetic cinema in a fast-paced collage of dreamlike imagery. Fragments of a poem by C. Breeze are read and manipulated in a manner recalling the tape experiments of Steve Reich. Rich reds and deep blues stutter and sparkle along with her descriptions of love and “canine sex.” TURNER is a brief glimpse at Serra’s roots in the New York avant-garde and the Film-makers’ Cooperative. – Stela Jelincic Nightfall (1984) By MM Serra, 16mm film, 1 minute 30 seconds Soi Meme (1995) By MM Serra, 16mm film, sound, 6 minutes Sound composition by Zeena Parkins. Erotic dance performance by Goddess Rosemary. Double Your Pleasure (2002) By MM Serra, 16mm film, sound, 4 minutes Sound by Jennifer Reeves Part of the “Ad It Up” series of shorts that are parodies of commercials. Real to Reel Mama (1982) By MM Serra, 16mm film, sound, 20 minutes “[Real to Reel Mama] portrays the views of a first generation Italian-American woman though her life experiences as immigrant, factory worker, and as the ’emotional heart of the family.” – Fabrice Ziolkowski Resurrection of the Body (2019) By Stephen Broomer, 16mm to digital, sound, 38 minutes In memoriam. Man in pieces. You have the lovers, remade by funhouse mirrors; you have the symmetries, undone, bent and curved; and you have the model, the bag on her head filling with carbon dioxide. Who owns your life? Testimonial and demonstration, a most ominous trade show. An experiment in therapeutic cinema. A speculative sequel and conclusion to John Hofsess’s “Palace of Pleasure” (1967). – SB Stephen Broomer is a filmmaker and writer from Toronto, Canada. His work has screened at the Anthology Film Archives, the Toronto International Film Festival, International Film Festival Rotterdam, and the Carpenter Center for Visual Arts (Harvard University). He is the author of Hamilton Babylon: A History of the McMaster Film Board (University of Toronto Press, 2016) and Codes for North: Foundations of the Canadian Avant-Garde Film (CFMDC, 2017). Devon Narine-Singh (b.1997) is a filmmaker, curator and scholar based in Long Island and Queens. His works have screened at Microscope Gallery, UltraCinema, The New School, The Trinidad and Tobago Film Festival and the upcoming 2019 Wrong Biennale . He has presented screening and presentations at NYU Cinema Studies, The Film-Makers Coop, and Maysles Cinema. 9/23 Los Angeles, CA United States: REDCAT - Roy and Edna Disney/CalArts Theater 8:30 PM, 631 W 2nd St JUAN PABLO GONZ&AACUTE;LEZ: CABALLERANGO “An atmosphere and feeling of loss that will haunt you.” — Indiewire “Must See.” — Remezcla Los Angeles Premiere In person: Juan Pablo González Juan Pablo González’s Caballerango (Horse Wrangler) (2018, 62 min, Digital, Spanish / English subtitles) is an intimate portrait of rural Mexican life amidst the deepening presence of tragedy and loss. In the village of Milpillas, a family remembers the last day they saw Nando, their youngest and apprentice to his father José, a horse wrangler. Through a subtle weaving of multiple voices and vivid locales, Caballerango poignantly reflects a community’s will to survive. Juan Pablo González is a Mexican filmmaker who was among Filmmaker Magazine’s 2015 “25 New Faces of Independent Film.” His work has been screened at Cannes, Rotterdam, IDFA, BAM, Mexico City Cinemathèque, and other international venues. TUESDAY, SEPTEMBER 24, 2019 9/24 Brooklyn, NY United States: Light Industry <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=83312c5c7f&e=f36020cad0> http://www.lightindustry.org/ 7:00 PM, 155 Freeman St POSSIBLY IN MICHIGAN + THE FETISHIST Possibly in Michigan, Cecelia Condit, 1983, digital projection, 12 mins. The Fetishist, Jim Trainor, 1997, 16mm, 38 mins. Light Industry probes the dark heart of the Midwest with two experiments in true crime: Cecelia Condit’s fractured fairy tale Possibly in Michigan and Jim Trainor’s animated profile The Fetishist. A classic work of 1980s video art, Possibly in Michigan has recently gained a new life online, circulating first as a weird YouTube video that exploded on Reddit, then later via TikTok, becoming a viral sensation over the summer amongst the platform’s teenage users, who uploaded their own lip-syncs to its memorably bizarre soundtrack. The piece is based on a real-life account of how her friend once dated a man later discovered to be a cannibalistic serial killer (he murdered women and stored their body parts in his apartment). Condit renders this ghastly scenario with ironic relish, reframing it as a lo-fi-synth-musical-cum-revenge-fantasy in which the two perfume-shopping protagonists are stalked by the ominous presence of a masked figure before ultimately making a meal out of him. Trainor’s The Fetishist, meanwhile, presents scenes from the life of William Heirens, dubbed the “Lipstick Killer” by Chicago newspapers in the 1940s for scrawling a message on the wall of a victim’s home. “For heaven’s sake,” it spelled out in a smear of cosmetics, “catch me before I kill more: I cannot help myself.” Heirens’s crimes were also the basis for Fritz Lang’s 1956 late-noir While the City Sleeps, but rather than spinning a thrilling yarn around the homicides, Trainor imagines Heirens’s private moments through a series of dreamlike vignettes. Taking cues from a study published in the American Journal of Psychiatry in 1946, Trainor depicts the juvenile Heirens’s pathological obsessions and behavioral abnormalities—his penchant for stealing women’s underwear, his compulsion to break into apartments and defecate in them. The Fetishist took Trainor eleven years to complete. He used black Sharpies on thousands of individual sheets of paper and worked without a storyboard, improvising actions as he drew and later editing down two hours of animated footage to the film’s final length of just under 40 minutes. “I remember thinking the only important thing was to get an image down quickly, and animate quickly so that a certain emotional quality would be transmitted into the drawings,” Trainor told an interviewer. “I got interested in a process of rote, uncritical tracing, where my drawings would get bent out of shape without much attempt to control them...I like Sharpie pens because the thick line, though unforgiving, goes down quickly; I can draw lots of pictures quickly. I stopped being concerned about their awkwardness.” These strategies, he explained, allowed the violent disturbances of Heirens’s psyche to be articulated through trembling visual designs, a fitting marriage of style and subject. Tickets - $8, available at door. Please note: seating is limited. First-come, first-served. Box office opens at 6:30pm. 9/24 Mexico City: Filmforum <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=1b5a768120&e=f36020cad0> http://www.lafilmforum.org/ 10AM-6PM, through Sept. 29, Museo Tamayo, Paseo de la Reforma 51, Col. Bosque de Chapultepec ISMO ISMO ISMO: SUPERFICIES ALTERADAS/ALTERED SURFACES Altered Surfaces: Psychedelia and Abstraction Abstraction has been a recurring strategy in Latin American visual cultures since long before the European Conquest. Over the past century, and often in dialogue with artists elsewhere, Latin Americans working in diverse media have explored both abstraction, or in the case the concrete art movement, who rejected the term “abstract” art as too suggestive of a link to a figurative realm that is being abstracted, “pure” explorations of color and form. Not surprisingly, filmmakers have participated actively in this process of exploration, often in collaboration with artists from other media. Enrique Pineda Barnet’s 'Cosmorama' (1964) uses the kinetic sculptures of the Romanian-Cuban artist Sandú Darié Laver as a point of departure. Other filmmakers proceed from urban and architectural references, such as the Cathedral of Notre-Dame in Teo Hernández’ 'Nuestra señora de Paris' (1981-1982), and render these in ways that cross back and forth between abstraction and recognizable representations, while still others reference the altered sensory perceptions and exaggerated color palettes of psychedelic experiences. Laborde’s 'As Within So Without' documents the reflective surfaces of the filmmaker’s inscrutable sculptures. Together, like the diverse approaches of the concrete, neo-concrete, geometric abstraction, “grupo Madí,” “grupo Ruptura,” and other movements in the visual arts, these filmmakers pursue colors, light, shadows, and forms as the basis for their work. La abstracción y la geometría en el continente americano ha sido una estrategia recurrente en diversas manifestaciones culturales previas a la conquista europea. Durante el siglo XX surgieron en América Latina diversos movimientos artísticos centrados en la geometría y la abstracción. Estos cineastas, al igual que los artistas visuales asociados a estos movimientos, centraron sus obras en el color, la luz y la forma. WEDNESDAY, SEPTEMBER 25, 2019 9/25 Berkeley, California: Pacific Film Archive <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=c4e9aa7cda&e=f36020cad0> http://www.bampfa.berkeley.edu/ 7pm, 2155 Center Street ISM, ISM, ISM: LATIN CAMP If nostalgia is the impossibility of a return to origin, queer nostalgia is the salvage of a symbolic past. These filmmakers borrow an alternative reading of Hollywood stars, figures who are also sites for mining, appropriation, and excess. These divas suggest private and collective mythologies that work against linear conceptions of time and history. This program proposes a new constellation of Latinx American fascination with Hollywood glamour, with campy starlets and performative extravagance. Ecuadorian bon vivant Eduardo Solá Franco’s Encuentros imposibles queers Hollywood’s Herculean heroes, while José Rodríguez Soltero’s Lupe evokes mythological fantasies. Teo Hernandez’s Estrellas del ayer pays homage to Greta Garbo, Joan Crawford, Lupe Vélez, Marlene Dietrich; and Horacio Vallereggio offers a raunchy and provocative interpretation of Olga Guillot, “the Queen of the Bolero.” —Luciano Piazza, cocurator, Ism, Ism, Ism. This program is part of the touring series Ism, Ism, Ism: Experimental Cinema in Latin America; the related catalog is available in the Museum Store. Films in this Screening: Estrellas del ayer, Teo Hernandez, Mexico/France, 1969 | Encuentros imposibles, Eduardo Solá Franco, Ecuador/Spain, 1959 | A Olga, Horacio Vallereggio, Ecuador/Spain, 1975 | Lupe, José Rodriguez Soltero, United States, 1966 | THURSDAY, SEPTEMBER 26, 2019 9/26 Brooklyn, NY United States: UnionDocs <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=cc0f793a99&e=f36020cad0> http://www.uniondocs.org 7:30 PM, 322 Union Ave AUTORRETRATOS FEMINISTAS This program looks at the legacy of the audiovisual self-portrait through the work of Argentinian’s AREA (Association of Experimental Filmmakers and Video-Artists). The films and videos included in this screening all work towards a feminist self-representation. Looking at approaches that are poetic, performative, speculative, and figurative they are rife with experimentation and employ or distort tropes in nimble ways. Meditating on public and private spheres, exploring the absence and presence of the body both as prison and refuge, and using reflection and movement to unlock an understanding towards a more comprehensive feminist gaze looking back on itself, these works capture something essential and emotional in the processing of one owns self for another’s eyes. These films reach us on through a variety of forms. From Super 8 to 16mm analog works to digital HD, found footage, or scenes captures with phone cameras, these works traverse the spectrum of format as is in the mission of AREA’s practice. This program also includes the first performative self-portrait in the history of Argentine video art (Roles, by Graciela Taquini, 1988). Filmmaker and AREA member Fabiana Gallegos will be in attendance to discuss her work and the collective’s practice. Program Roles by Graciela Taquini (1988, 2:51) Agua Viva by Luciana Foglio (2016, 8:02) Rostros by Luján Montes (2017, 3:55) YO. VOS. TODOS by Fabiana Gallegos (2018, 5:31) Realidad by Macarena Cordiviola (2012, 1:06) La Carencia by Ana Villanueva (2018, 8:42) Punto Ciego by Clara Frías (2018, 2:01) Doméstico by Gabriela Golder (2007, 1:38) Atrapada by Paula Pellejero (2012, 1:03) Una noche como esta by Leticia Obeid (2005, 0:50) Siesta by Azucena Losana (2018, 3:16) Muestrario by Paula Herrera (2016, 6:13) Caracoles y Diamantes by Paola Michaels (2014, 8:31) Sin título by Toia Bonino (2018, 0:22) Metria by Melisa Aller (2014, 4:22) Retrato by Laura Focarazzo (2010, 1:01) Alfalfas by Mariana Lombard (2017, 17:31) 9/26 San Francisco, California: San Francisco Cinematheque <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=63adc5f260&e=f36020cad0> http://www.sfcinematheque.org 7:30 PM, Yerba Buena Center for the Arts, 3rd & Mission MAKINO TAKASHI: MEMENTO STELLA MAKINO TAKASHI in person In his digital video work, filmmaker MAKINO TAKASHI blends near-infinite levels of superimposition and swirling fields of abstraction to create transcendent, oceanic experiences of immersion and sensuous overwhelm. Composited from over 200 layers of imagery captured by the artist in Japan, Europe and the U.S., and with a slow-rolling soundtrack by Reinier Van Houdt, MEMENTO STELLA (2018) embodies an evolutionary and elegiac contemplation of consciousness and unconsciousness adrift in the universe. FRIDAY, SEPTEMBER 27, 2019 9/27 Santander, Spain: Centro Cultural Doctor Madrazo 6:00 PM, Casimiro Sainz, S/N CINEINFINITO #102: ABBOTT MEADER (I) Cineinfinito #102: Abbott Meader (I) CINEINFINITO / Centro Cultural Doctor Madrazo Viernes 27 de Septiembre de 2019, 18:00h. Centro Cultural Doctor Madrazo Calle Casimiro Sainz, s/n 39004 Santander Programa: · Catwalk (1972), 16mm, b&w, sonora, 5 min · Moments Ago (1966/69/76), 16mm, color, silente, 6 min · Shadows from the Western Wall (1974), 16mm, color, sonora, 12 min · Summer Storm Passage (1964), 16mm, color, silente, 19 min · Racetrack (1972), 16mm, color, sonora, 6 min · Spem in Alium (1982), 16mm, color, sonora, 12 min Formato de proyección: HD (copias cortesía de Northeast Historic Film, Maine) Agradecimiento especial a Abbott Meader, Bruce Williams y Joe Gardner 9/27 Santander, Spain: Centro Cultural Doctor Madrazo 7:30 PM, Casimiro Sainz, S/N CINEINFINITO #103: ABBOTT MEADER (II) Cineinfinito #103: Abbott Meader (II) CINEINFINITO / Centro Cultural Doctor Madrazo Viernes 27 de Septiembre de 2019, 19:30h. Centro Cultural Doctor Madrazo Calle Casimiro Sainz, s/n 39004 Santander Programa: · Shiva Ree (1968), 16mm, b&w, sonora, 8 min · Summerfall / Blackberries (1982), 16mm, color, silente, 4 min · The Elms (1964), 16mm, color, sonora,18 min · Winter Li (1978/81), 16mm, color, sonora, 7 min · West By North (1977), 16mm, color, sonora, 25 min Formato de proyección: HD (copias cortesía de Northeast Historic Film, Maine) Agradecimiento especial a Abbott Meader, Bruce Williams y Joe Gardner SATURDAY, SEPTEMBER 28, 2019 9/28 San Francisco: Other Cinema <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=11a38ea7e2&e=f36020cad0> http://www.othercinema.com/ 8:30, 992 Valencia Street OPTRON 1: HAND PROCESSING SEPT.28: ERIC STEWART + JOHN DAVIS + BLACK HOLE LAB + Teleporting in from Colorado is Process Negative Lab whiz Eric Stewart, to co-star in this hand-process showcase with our own East Bay film alchemists, in the first of four OPTRONICA events this season! Eric unspools three of his hand-made shorts, plus pieces by lab pals Taylor Dunne and Robert Schaller, before his 20-min. Meditations on the Life of a Star is live-tracked by much-loved synth maestro John Davis. The Vallejo-based Davis ups the ante by launching his own Night Country cyanotype filmwork--projected on multiple Analysts and live-sound-processed by Molly Fishman--and then reprising his masterful track married to Larry Jordan’s latest animation, Oz. The second half opens with the West Bay debut of work from Oakland’s brave Black Hole Lab: Matthew Hidy, Anna Geyer, Lauren Iverson, Zach Parrinella, Emily Chao, Alix Blevins, and Nicky Tavares. *$8.88 SUNDAY, SEPTEMBER 29, 2019 9/29 Brooklyn, NY United States: UnionDocs <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=0e208305d5&e=f36020cad0> http://www.uniondocs.org 7:30 PM, 322 Union Ave CAN THE ADDICT SPEAK Can The Addict Speak? presents a program of short films reflecting on the familiar cycles and stages of those experiencing addiction. Organized with filmmaker / programmer Devon Narine-Singh, this series raises the question of how film can be used as a restorative tool. Proposing a broadened conception of what a film about addiction can look like, these seven shorts approach recovery through its recognizable touchstones. Program: FREE ICE WATER 15 min. John Freyer Empyrean 7 min. 2016 Kalpana Subramanian The Body Besieged 5 min. 2009 Kelly Sears Leave Me Alone and Let Me Die 10 min. 2019 Devon Narine-Singhi Einst 11 min. 2016 Jessica Johnson Close Shave 10 min. 2018 John Freyer Hijacked 14 min. 2017 Shambhavi Kaul 9/29 New York, NY: Anthology Film Archives <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=b8daf6225b&e=f36020cad0> http://www.anthologyfilmarchives.org/ 7:30 PM, 32 Second Avenue EC: HOLLIS FRAMPTON ZORNS LEMMA (1970, 60 min, 16mm. Preserved by Anthology Film Archives.) "A major poetic work. Created and put together by a very clear eye-head, this original and complex abstract work moves beyond the letters of the alphabet, beyond words and beyond Freud. If you don't understand it the first time you see it, don't despair, see it again! When you finally 'get it,' a small light, possibly a candle, will light itself inside your forehead." -Ernie Gehr & HAPAX LEGOMENA I: (nostalgia) (1971, 36 min, 16mm. Preserved by Anthology Film Archives.) "In (nostalgia) the time it takes for a photograph to burn (and thus confirm its two-dimensionality) becomes the clock within the film, while Frampton plays the critic, asynchronously glossing, explicating, narrating, mythologizing his earlier art, and his earlier life, as he commits them both to the fire of a labyrinthine structure; for Borges too was one of his earlier masters, and he grins behind the facades of logic, mathematics, and physical demonstrations which are the formal metaphors for most of Frampton's films." -P. Adams Sitney Total running time: ca. 100 min. _____ Let us know about your alternative film/video event! 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