Kerry Laitala is deeply involved in working directly with the cinematographic medium - filming, editing and sound design - as well as in the optical printing of much of the material, to transform it into celluloid gems of strange resonance.
This session is dedicated to the Cinema of the Body by Maria Klonaris and Katerina Thomadaki, two Greek artists based in France who take us to a field where women are liberated from patriarchal ties and discover themselves in a free territory.
Though eclipsed by filmmakers like Andy Warhol, Jack Smith and Kenneth Anger, José Rodríguez Soltero is one of the leading exponents of the queer Latino acid-head division of New York’s film underground in the mid-sixties.
In the framework of the exhibition "1,000 m2 of Desire. Architecture and Sexuality", Xcèntric Cinema presents a session of films by James Herbert and Stan Brakhage that evoke the relation between erotic desire and its physical spatiality.
In this session, in the framework of the exhibition "1,000 m2 of Desire. Architecture and Sexuality", we see three essential pieces of US experimental film. Barbara Rubin, Kenneth Anger and Jack Smith film their respective transgressive visions of the body and desire located in the space of pure fantasy.
In the framework of the exhibition "1,000 m2 of Desire. Architecture and Sexuality", Xcèntric Cinema presents Extreme Private Eros: Love Song 1974, by Kazuo Hara, a revolutionary film that borders on self-therapy to heal the wounds of mutilated love. In his ex-wife’s new apartment, the camera gives the filmmaker the explanation he needed about the end of their relationship .
L.A. Plays Itself, Fred Halsted’s first feature, opens this series of sessions in the framework of the exhibition "1.000 m2 of Desire. Architecture and Sexuality". Made in 1972, the film traces a route around the cruising areas of the city of Los Angeles. The session is completed by one of Halsted’s shorts, Sex Garage.
For Robert Beavers, the camera is not a simple recording device; it has a very lively quality that surrounds the elements of filming. This session presents two films he made in the 1970s based on a 15th-century painting and the writings of John Ruskin. The construction of images and sounds in these works connects the present with the past and the past with the present in a continual toing and froing.
Anne Rees-Mogg (1924-1984) was a dedicated teacher and an active defender of 16mm film. Her films deal with time, memory, personal relations and the discovery of cinematography. This session presents a series of works that sketch out a short personal journey through the history of the cinema: from the pre-cinematographic devices of the magic lantern to a poetic tutorial about how to make experimental films, via the photography and the time and movement studies of Muybridge.
Lacrima Christi is the longest of the over 150 films made by the Mexican filmmaker resident in Paris, Teo Hernández. Part three of a tetralogy devoted to Christ’s Passion, Lacrima Christi is an exploration of the transfer between desire and myth that takes as its starting point a series of objects found in the flea market of Belleville.