In tribute to film legend Barbara Hammer (1939–2019), this program highlights a selection of the artist’s early films rooted in the Bay Area. Shot at the Roxie Theater, the beginning of Audience (1982) features Hammer’s fun, flirtatious, and thoughtful interviews with the audience line before her tribute screening as part of that year’s San Francisco International Lesbian and Gay Film Festival. Recognized as one of the first lesbian experimental filmmakers, Hammer explicitly championed the perspective of women and the visibility of the lesbian and queer communities
Pat O’Neill’s rarely screened masterpiece Water and Power (1989) is a technological feat on the terrifying desert created by Los Angeles’ enormous water consumption. O’Neill focused intently on the industry that sprang up around Los Angeles, ‘the city that changed land into desert’, which he filmed with the use of time-lapse photography and optical printing and animation. In this way, he managed to expose the inexorable conflict between industry and nature.
Before becoming an accomplished painter and blues guitarist, Mike Henderson studied with Robert Nelson in the SFAI Film Department; between the 1960s and 1980s he sustained a filmmaking practice, creating a remarkable body of work that renders black experience and the joys and struggles of making art with humor and idiosyncrasy. He joins us to present his film The Shape of Things alongside canonical work from Nelson and George Kuchar, two of the filmmakers and teachers most closely associated with film at SFAI, and Bruce Conner, whose work and legacy has helped to define alternative cinema in the Bay Area.
A four week course in artists and experimental filmmaking taught by Maximilian Le Cain + Aoife Desmond
The Guesthouse Project Space, 10 Chapel Lane, Shandon, Cork. Mondays 7pm - 9pm, May 6th - 27th Materialist Film / Fictional Documentary / Performance / Expanded Cinema Price €120 ( early bird €100 before April 15th). Booking is essential as places are limited. Contact [email protected] to book.
Cornell Cinema is honored to host internationally acclaimed local experimental filmmaker Vincent Grenier for a career-overview screening of his poetic film and video work. He will be the recipient of the 2019 Stan Brakhage Vision Award at the Denver Film Festival, an honor held by such masters of the avant-garde as Barbara Hammer, Carolee Scheemann, P. Adams Sitney, and George Kuchar.
We are extremely pleased to present a special screening of a selection of 8mm films by filmmaker Marjorie Keller (1950-1994) in collaboration with the Film-makers Cooperative. The program features six of the artist’s films and spans nearly a decade and a half, from 1969-1983.
"Moonlight People" by Dmitri Frolov / Russia / 2019 / 14 ' / black white, without dialogues
Synopsis: Two young people and two girls in a moonlit night confess in their strange fantasies and loves that go beyond the usual standards ..
The impulse to make the film was the book with the same name as the Russian religious philosopher Vasily Rozanov, who died 100 years ago. His treatise was devoted to the study of sexuality and its negation in Christianity.
On April 12th, 14th, and 15th, ten of Madison Brookshire's films will be presented at Mono No Aware, Anthology Film Archives, and Microscope Gallery. Madison Brookshire will be in attendance at all three screenings, including a Q+A at the Anthology screening and a live performance of his solo piece "FOUNTAIN" at Microscope Gallery. Several films include live musical performances from LCollective.
4/12 at MONO NO AWARE, 8pm + 4/14 at Anthology Film Archives, 7:30pm + 4/15 at Microscope Gallery, 7:30pm
This selection of artists’ films looks at bodies of water through technologies of seeing, sensing, and investigation to help us imagine different ecologies and less visible, even alien environments. Exploring various approaches to “remote sensing,” these works frame life on an increasingly unliveable planet through militarized and infrastructural forms of oceanic space. What can the relationship between the visibility of a watery surface and the invisibility of what exists below it tell us about possible futures — on and beyond our own environments?