After shows in Los Angeles (Echo Park), Winnipeg (WNDX Festival) and Toronto (Pleasure Dome) the 20th Anniversary Film Farm celebrations journey to the U.K., presented by Lux Moving Image of London! The Film Farm Lux 20th Show, curated and presented by Artistic Director and founder Philip Hoffman, includes early and recent films (16mm and digital) made at the Film Farm between 1994 and 2014.

With her latest work, Barbara Hammer, who is known for films about lesbian life, history, and sexuality that draw upon avant-garde tradition, examines the little-known aspects of the life of the Pulitzer Prize–winning American poet Elizabeth Bishop (1911–1979). Hammer’s film, shown here in its New York premiere, explores Bishop’s inner life through some of the homes in which she lived and wrote—from childhood to her final days—and through the more private and sensorial poems that were published after her death. Featuring music composed and performed by the experimental singer and musician Joan La Barbara; Bishop’s intimate poems read by Kathleen Chalfant; three actors representing Bishop’s physical presence at different stages of her life; and interviews by historians, poets, and students, Welcome to This House sensitively portrays a complex, private, and challenging writer whose poetry continues to inspire.

The month of May brings to the Projection Space two cinematic works on color grading and color printing by London based artist Aura Satz. Doorway for Natalie Kalmus pays homage to Technicolor's color consultant Natalie Kalmus and Chromatic Aberration, to be seen later this month, features close-ups of eyes from the early experiments in color printing. 

The accompanying Parallel Screen brings the online premieres of two films by Rotterdam based artist/filmmaker Esther Urlus.

Presented with The Artist's Institute

Throughout her career, Carolee Schneemann has produced moving images on film and video intended as cinema, installation, and used as elements in her Kinetic Theater productions. Fuses, Viet-Flakes, and Plumb Line are united by her varied manipulations of the filmstrip, focus on intersubjective—and interspecies—relationships, and the intersection of emerging feminist politics with protest against the Vietnam War. Across all three, Schneemann explores the incorporation of visions other than her own into the space of film.