Set in a parallel universe entering a black hole, a woman reading the book of Revelation has visions of regeneration during Anthropocene. The fourth live action/stop-motion animated hybrid feature film by Dir Eric Leiser, 90 min, 2017
This program celebrates the publication of Millennium Film Journal No. 65 “Architecture On Screen and Off” with a special screening of works featured in the issue. The title refers to recent moving-image artists’ considerations of the built environment and its connection with character, politics, social norms, class, race and gender.
Born in Jodhpur, India, Shambhavi Kaul lives in the U.S. where she teaches filmmaking at Duke University. As skillful with found footage as with her own gorgeous landscape cinematography and hand-processed 16mm, Kaul’s films are marked by a distinctly pensive but playful character. Kaul’s cinematic constructions conjure uncanny, science-fictive non-places. They present to us other worlds – our natural world becomes surreal, familiar set pieces and settings in found-footage films are revealed to be hollow and eerie, hints of narrative threads appear and recede.
José Val del Omar has often been considered an essential figure of Spanish experimental cinema. However, we see Val del Omar as an essential figure of experimental cinema tout court. This is not a minor point. Displacing Val del Omar from a narrow national narrative is a chance to relocate him within an international constellation of referents. He is part of a global history of images, sounds, utopias, and inventions. This expansive perspective may be a way to eschew recurring questions—was Val del Omar ahead of his time?
Thursday, March 16, 2017 (All day) to Sunday, March 19, 2017 (All day)
This program pays homage to queer cinema pioneer Barbara Hammer in the context of the theme of feminist film genealogies by placing two of Hammer’s films beside a work by her mentee, Joey (formerly known as Gina) Carducci, and a film they made together. Hammer’s Dyketactics articulates lesbian desire and sexuality through the physicality of the female body and the materiality of the film medium.
The title of the Fall 2016 issue of Millennium Film Journal – Image Machines – invites readers to consider artists’ moving image as an interplay between the activities and intentions of filmmakers and the variety of machines and methods employed in the creation of their works. Through disarming voice-overs, archival excavations, and personal interventions, these digital and photo-chemical works chart the leaky tensions between interior and exterior landscapes.