Iris Film Collective, in collaboration with Dance Troupe Practice is pleased to present “A Roll For Peter”, the touring program of films made in tribute to the late great filmmaker Peter Hutton.
The films come to Vancouver in serendipitous confluence with two screenings as part of the DIM series at The Pacific Cinematheque of Hutton’s work (the second takes place on April 26).
Hutton, an American artist and educator, developed a unique perspective on both urban and remote landscapes through his images from the early 1970’s until his death in 2016.
Encompassing experimental film and video, essay film, gallery-based installation art, and digital art, Jihoon Kim establishes the concept of hybrid moving images as an array of impure images shaped by the encounters and negotiations between different media, while also using it to explore various theoretical issues, such as stillness and movement, indexicality, abstraction, materiality, afterlives of the celluloid cinema, archive, memory, apparatus, and the concept of medium as such.
For the second installment of Eye on a Director, MAD highlights the collection of the legendary film distributor and archive Canyon Cinema. In the late 1950s, Canyon Cinema brought together independent film artists whose work reflected a remarkable diversity in style and content. Variously called avant-garde, underground and experimental, these artists shared a vision of filmmaking as a form of personal expression, free from the demands and constraints of commercial conventions.
American Originals Now: Lynne Sachs Sunday October 16, 16h Sunday October 23, 14h National Gallery of Art Fourth Street and Constitution Ave., NW, 20565 Washington DC
The ongoing film series American Originals Now offers an opportunity for discussion with internationally recognized American filmmakers and a chance to share in their artistic practice through special screenings and conversations about their works in progress. Since the mid-1980s, Lynne Sachs has developed an impressive catalogue of essay films that draw on her interests in sound design, collage, and personal recollection. She investigates war-torn regions such as Israel, Bosnia, and Vietnam, always striving to work in the space between a community’s collective memory and her own subjective perceptions. Sachs teaches experimental film and video at New York University and her films have screened at the Museum of Modern Art and the Buenos Aires, New York, and Sundance Film Festivals. Her work was recently the subject of a major retrospective at the San Francisco Cinemathèque.
Working since the mid-1980s, variously on lyrical formal shorts and long form experimental documentary, Lynne Sachs’ body of film and video work has explored the relationships between individual memory and experience in the context of large historical forces. Foregrounding personal history and autobiography, Sachs exalts the intimate gesture as perhaps the most heroic of poetic and political acts. With a keen grasp on cultural theory and media history, Sachs’s films avoid academicism in their celebration of life and mindful political engagement, presenting complex pictures of the world with lyrical grace and even joy.
Lynne Sachs: States of Belonging is a four-part retrospective of the filmmaker’s work, presented as a collaboration between San Francisco Cinematheque, Pacific Film Archive, ATA’s Other Cinema and Oddball Film + Video. The series in accompanied by a limited-edition monograph—available at screenings—featuring original writings by Susan Gerhard, Kathy Geritz, Lucas Hilderbrand and Bill Nichols.
American Originals Now: Lynne Sachs
Working since the mid-1980s, variously on lyrical formal shorts and long form experimental documentary,