For three consecutive days in October 2021 Pushkin House is showcasing the best of recent Russian experimental cinema and artists' moving image, selected by the Moscow International Film Festival (MIEFF) and initially presented during one of its iterations since 2016. Each evening the curator of the festival Dmitry Frolov will present the programme, followed by a short conversation between him and a curator from Pushkin House. The showcase takes place on Wednesday 20 October, Thursday 21 October and Friday 22 October.
Due to technical issues beyond our control, we will sadly be postponing tonight's DIM Cinema screening of CROP + Dreamaway to a later date. Ticket holders will be contacted and refunds issued. All screenings at The Cinematheque through Friday (October 15) have been cancelled. We apologize for any inconvenience caused and look forward to screening these films in the not too distant future.
Citric Signals is now accepting submissions for their quarterly, prompt-based open calls. Selected submissions will be screened on Twitch December 8, 2021
Open Call #3: "Dream" Deadline: November 8, 2021 @ 11:59 PM. Send us any experimental films you have (new or old) responding to the prompt “Dream”.Only one submission per artist and works must be 5 minutes or less. Other than that we’re open to all weird, wild, and avant-garde work you want to send our way!
The XIV edition of Archivio Aperto with be held live and online, free and worldwide, on MyMovies platform. Archivio Aperto is the festival dedicated to the rediscovery of the experimental and amateur film heritage, run by Home Movies - Archivio Nazionale del Film di Famiglia of Bologna (Italy).
Dates:
Saturday, October 9, 2021 (All day) to Wednesday, October 27, 2021 (All day)
Burnt Experimental Film and Video Art is back for our 3rd edition with 12 programs streaming for two weeks each between September 30th, 2021 and March 31st, 2022.
Cinema Parenthèse and iMAL are very pleased to invite the german filmmaker Helga Fanderl to present a personally selected super 8 film program. As a student of both Peter Kubelka and Robert Breer, Fanderl has created her own specific working methods, attitudes, and cinematic expressions. For instance, it is crucial for her to confront and work in the present, to process the various pro-cinematic impressions directly in the camera (as a kind of live filming) without any form of post-production.
