New landscapes for the New World
Contemporary Spanish Experimental Cinema
Wednesday, November 17th, 19:30h
Victoria Theatre
2961 16th Street, San Francisco, California 94103

Curated by Garbiñe Ortega
Presented with support from Dirección General de Política e Industrias Culturales of the Spanish Ministry of Culture and Consulate General of Spain in New York

Films that think, images that beat, sounds which play ping-pong. This program represents an intense capsule reflecting diverse and exciting talents in contemporary Spanish avant-garde cinema. Coming from darkness, animation, found footage and the exploration of visual and sonic textures describe the illness and cure of the individual in the present, the opening of other spaces and dimensions, luminous new landscapes, paranormal events. “They are already here. Or maybe they are just in our imagination. One way or another, unexpected things happen…”  (Garbiñe Ortega)

- Hezurbeltzak. Una Fosa Común (Izibene Oñederra, 2007, 4 min.)
- Copy Scream (Oriol Sánchez, 2007, 3 min.)
- The end (Fernando Franco, 2008, 6 min.)
- Tabla aeróbica Nº4. Estudio para pintores (Gonzalo de Pedro, 2007, 9 min.)
- Kinky hoodoo voodoo (Velasco Broca, 2004, 8 min.)
- Alone (Gerard Freixes, 2008, 4 min.)
- Digital (León Siminiani, 2005, 7 min.)
- For(r)est in the des(s)ert (Luis Berdejo, 2006, 12 min.)
- Cómo dibujar animales tristes o cuaderno de todas las cosas vivas y muertas que imaginé la noche que te fuiste para siempre (How to draw sad animals or a notebook of all the living and dead things I thought of the night you left for ever) (Laboratorium, 2009, 7 min.)

[members: $5 / non-members: $10]

ATA: Spanish cooking and its indigestions
Sunday, November 14, 2010, 20h, $6
Artists' Television Access
992 Valencia Street, San Francisco, California 94110

Curated by Gonzalo de Pedro and Garbiñe Ortega.

ATA presents some of the most the revulsive, eccentric, irreverent, acid dishes of the contemporary Spanish avant-garde cinema. Andrés Duque, María Cañas, David Domingo, Virginia García del Pino and the audiovisual collective Los Hijos are the chefs for this atypical dinner.

- Un minuto antes de la invasión de groenlandia (A minute before the invasion of Greenland) (Los Hijos. 1 min.)
From the Playground of the audiovisual collective Los Hijos (The Sons) formed by Javier Fernández Vázquez, Luis Lopez Carrasco and Natalia Marin Sancho, a one- minute fried experiment.

- No es la imagen es el objeto (It’s not the image, it’s the object) (Andrés Duque. 2008. 12 mins.)
“How many hours could you spend watching this card?”, Pedro P. tells José Sirgado on the film ARREBATO (Rapture, Ivan Zulueta). I keep also my favorite album from my childhood. It’s called “Man, Races and Customs”. Every page reveals me new interpretations, sometimes they are imprecise and weird about who we are and what the world is. – Andrés Duque.

- Lo que tú dices que soy (What you say I am) (Virginia García del Pino. 2007. 28 min.)
Profession or the lack of it as a role to play. The uniform as a costume. The workplace as a set. And in the audience, the society, hoping that the actors will adjust to the script. -Hamacaonline.net

- El perfecto cerdo (The Perfect Pig) (María Cañas. 16 mins.)
The perfect pig: fat, substance, steroids, complete use of it. This piece, constructed as a fable, introduces us into the creation process of derivative work and recycling culture, and searches for the hidden truth of images. -Hamacaonline.net

- Desayunos y meriendas (Breakfast and Afternoon Snacks) (David Domingo. 2002. 7 mins.)
The starting pistol of this outlandish visual fantasy is marked by the moment when two youths, sitting on a bed, are about to watch a film and insert a tape in their VHS. This is where the first link in a chain of stories within stories, a technique often used in David’s work, who frequently draws circles of permeable meanings. -Hamacaonline.net

Total: 64 min.

The film series, New Landscape for the New World, starts with a program at the Pacific Film Archive on Wednesday, November 10 (for futher information visit: bampfa.berkeley.edu) and at San Francisco Cinematheque on Wednesday, November 17, at the Victoria Theater (for further information visit: sfcinematheque.org).

We are grateful for the support of Dirección General de Política e Industrias Culturales of the Spanish Ministry of Culture and the Consulate of Spain in San Francisco.

MassArt Film Society: Gunvor Nelson and Dorothy Wiley
Wednesday, October 13th, 20h, 4$
Massachusetts College of Art, Film Department
Screening room 1. 621 Huntington Ave. Boston, Massachusetts 02115, USA

- Schmeerguntz
By Gunvor Nelson and Dorothy Wiley.

"Schmeerguntz is one long raucous belch in the face of the American Home. A society which hides its animal functions beneath a shiny public surface deserves to have such films as Schmeerguntz shown everywhere - in every PTA, every Rotary Club, every club in the land. For it is brash enough, brazen enough and funny enough to purge the soul of every harried American married woman." - Ernest Callenbach, Film Quarterly

- Red Shift
Starring: Carin Grundel, Oona Nelson, Gunvor Nelson, Regine Grundel, Ulla Moberg, Gunnar Grundel. Assistant: Diane Kitchen
Red Shift is a film in black and white about relationships, generations and time. The subtitle is ALL EXPECTION. The movement of a luminous body toward and away from us can be found in its spectral lines. A shift toward red occurs with anybody that is self-luminous and receding. There is uncertainty about how much observable material exists.
"It involves Gunvor Nelson, her mother and her daughter. Carefully and with great tenderness, it focuses on these three women, trying to show us their relationship, succeeding with an emotional impact that is hardly ever found in such a subject. It is not the social context which is exploited but the little gestures, everyday events. Red Shift is a radical film; it sets new measures for avant-garde filmmaking dealing with personal problems." - Alf Bold, The Arsenal, Berlin

- Time Being
An animated film blending media (painting, stills, cut-outs and collected objects) that evokes images from the filmmaker's hometown of Kristinehamn, Sweden.