Retrospective of works by Dmitri Frolov (18+). Frolov is one of the leaders of russian film vanguard in postperestroika age. He makes aesthetic experiments connecting with a return to dumb cinema on new level of movie language.
Nick Collins has been making films since the late 1970s. They centre on small scale instances of human geography and habitation, spanning investigations of archeological sites to contemporary environs. Graphic patterns of light and shadow are the focus of his observational camera, with his subjects including Greek temples, domestic gardens, and town squares. Collins has often collected his films together in short series of 'little films' reflecting their lyricism.
DIM Cinema presents a free screening pairing two canonical works of Canadian experimental film: Michael Snow’s single-take across a New York loft, perhaps “the most consequential zoom shot in the history of cinema” (Jonathan Rosenbaum, Monthly Film Bulletin), and Alberta-born, B.C.-based filmmaker Ellie Epp’s 12-shot study of a soon-to-be-demolished public bath in London, which “maps another way out of structural film toward a cinema of delicate implication” (Bart Testa, Canadian Encyclopedia).
After screening her amazing film Magic Mirror in 2013, we are delighted to invite British artist Sarah Pucill to present her latest film for The Dream That Kicks.
Amidst a visual extravaganza of costumes and hand-made sets, Sarah Pucill's new film Confessions to the Mirror takes its title, from the French Surrealist artist, Claude Cahun’s incomplete memoir. Following Cahun’s text, the film includes Cahun’s early and later life and work including her political propaganda activity and imprisonment in Jersey with her partner Suzanne Malherbe during the Nazi occupation of the island.
AEMI and IFI present the film and video work of Peggy Ahwesh and Julie Murray. The programme examines the distinct and overlapping interests of two significant filmmakers, both of whom will be in attendance for the screening.
Over several decades of practice Peggy Ahwesh has created one of the more heterogeneous bodies of work in the pantheon of experimental cinema. From early films shot on Super8 to recent forays into digital animation, Ahwesh’s work powerfully addresses questions of feminism, cultural identity and performance.