Celebrate the heat of July with classics by two of the sharpest editors in the experimental scenes in the USA. Abigail Child’s heady Is This What You Were Born For? series (from which we’re showing four films) took the Eighties by storm creating “found” footage collages of sultry noir seduction—turning erotic desires on its head.
In collaboration with our colleagues in the screening collective Vertical Features, Early Monthly Segments is pleased to present two films by Su Friedrich. The Ties That Binds centres on Friedrich’s mother, Lore Bucher, who was born in Ulm, Germany in 1920. With Friedrich’s insistence, Bucher recollects her youth, growing up in Germany during the rise of the Third Reich and speaks about her own attempts to resist in whatever form she could.
“The more real a thing it is, the more mysterious it becomes.” Jack Chambers
Early Monthly Segments is pleased to host the launch of three small books by Barbara Sternberg. Every Day 1, 2, 3 looks at the process of living and the process of filmmaking—how the quotidian influences the creative practice and how one moves from the real world to the imaginative world of artmaking. The launch will be accompanied by a short screening of four films followed by a discussion on the relation between filmmaking and book-making.
To celebrate our sixth anniversary we’ve assembled an evening of determined visual magic, radical geometry and single frame exaltation. Takashi Ito’s sublime Spacy uses the Droste effect (or mise-en-abyme), to turn 700 photographs of a gymnasium into a glorious ten-minute kinetic voyage. Paul Sharits’s seminal Ray Gun Virus is a colour field flicker film that offers a visceral palette of sensory pleasures. Rose Lowder’s Scenes de la vie francaise: La Ciotat is from her four-part series “Scenes de la vie francaise” which references the Lumieres and shows two versions of the same scene, shot frame by frame acutely examining the impact of scale, duration and time. La Ciotat features animated landscapes of the port, dry docks, shipyard workers, launched tankers, fishermen and the beach, showing us contrasting views of the Cote d’Azur port city with graceful perception.
This month, Early Monthly Segments is very pleased to host a screening of 16mm films by US-based filmmaker Mary Helena Clark. Clark is in Toronto to work on a new film based on Franco Moretti’s book Signs Taken for Wonders, the title of which could be an apt description of much of Clark’s filmography. Clark’s films place emphasis on fragments and momentary discoveries, whether the physical imprints of rotting textbooks found in a deserted school, as in After Writing, the very material detritus on a well-worn film print of Jean Cocteu’s Orphée, highlighted in Orpheus (outtakes), or the way traveling through an iconic city like San Francisco, featured in The Dragon is the Frame, can capture references to moments gone-by—both universal and personal.
This month Early Monthly Segments is delighted to be presenting three films that are distinguished by their political and critical resonance while exhibiting a profound, poetic and unique handling of the materials and form of film. In Light ReadingLis Rhodes uses a series of still photographs to suggest a mystery, or perhaps more accurately to explore the tropes of the language of mystery. Layering images and text both still and moving, and playing with repetition and image registration and measurement Light Reading is as much about the characteristics of film and photography and who is the subject and/or the object of such as the story it skirts. Similarly layered and elliptical A Cold Draft functions as a multifaceted poetic reportage of the experience of those left behind in the trickle down dystopia of the 1980s UK. The voice of a single narrator comes to embody a chorus of defeated subjects surviving perpetual oppression. Susan Oxtoby’s All Flesh Is Grass revolves around the exploration of the ruin of a 19th century shopping arcade in Buffalo NY, combined with footage of spaces, friends, children and characters in Toronto and in New York City.
To celebrate our fifth year anniversary we’ve given ourselves the challenge of programming (and projecting) an evening of double projections!
Vanessa O’Neill’s sublime Suspension uses rephotography, tinting and superimposition to turn a westward view of the Pacific Ocean into a sublime interplay of waves, light and grain. Malcolm Le Grice’s classic Berlin Horse is a film that explores the possibilities of the loop, taking a short fragment of a silent film and subjecting it to a series of colour processes amplified by the phased music of Brian Eno. Daichi Saito’s Never a Foot Too Far, Even is a contemporary expansion, superimposing a section of a Kung-Fu action film into a perceptual play, accompanied by a violin composition by Malcolm Goldstein. Tonight’s screening of Visions in Mediation #2: Mesa Verde, Stan Brakhage’s vision quest to the ruins of the Ancient Peublo cliff dwellings in Southwestern Colorado is amplified by a second print given to Kate MacKay from the filmmaker as a gift. And finally, a third projector will be sparked to present For My Crushed Right Eye, Toshio Matsumoto’s ode to the social unrest and expansion of the late sixties, all of which threatened to burst out of the frame.