In her films, Manon de Boer explores the way in which memory is activated and how she renders it visible by means of the artistic process. Her portraits are introspective narratives in which the image and sound tracks are sensible surfaces that record the pleasure of filming the other, and music and words are regarded as sensorial experiences. This session shows her work by means of four of her most important films, including the presentation of her latest.
Film Panic Issue 3 is now available! This issue contains in-depth interviews with five exciting and unique contemporary filmmakers who are exploring the possibilities of the art of cinema!
From the editorial: "In this issue of FILM PANIC we interview five contemporary filmmakers, each of whom is creating work that is totally independent both creatively and financially. Each one of them is forging their own path and playing their own part in expanding the possibilities of the art of cinema and, in their own way, continuing the journey that began many years ago with the pioneers of the medium."
WUFF is seeking new and engaging moving-image works that deviate from traditional cinematic forms (whatever that means). Stronger consideration will be given to works under 20 minutes, and to those completed in 2015 or later, but exceptions may be made in both cases. If you think your movie is suited for our show, we'd like to see it; if you aren't sure, please check out our previous years' programs.
“Having reached an age at which you think about getting your bags ready for the next world, I’m about to burn my life, to throw away all I’ve collected and accumulated for over half a century. Books, clothes, films, everything must, will disappear, in ashes and smoke. Funeral (on the art of dying) presents itself as the ‘last’ episode of my auto-cine-biographic work Babel, which covers over thirty years of my life. Funeral will bring this narration of life to its end. It can be considered as my last movie, as a will.” (Boris Lehman)
Saturday, January 14, 2017 - 20:00 to Sunday, January 15, 2017 - 19:55
Saul Levine is one of the leading figures in the autobiographical tradition within underground cinema. His films are often marked by a direct confrontation with the fragile material of 8mm, and the resulting works bear the marks of his construction, splices appearing like indentions in concrete.
Friday, January 27, 2017 - 19:00 to Saturday, January 28, 2017 - 18:55
The five-program series "Troubling the Image: New + Restored Experimental Cinema" features an eclectic and wide-ranging group of works that celebrate the vibrancy of experimental and almost-experimental cinema from near and far, now and then.
Focused on art, design, and photography, with the use of color as a unifying element, this program includes a striking selection of abstract and representational works. Joseph Cornell’s celebrated found-footage film Rose Hobart (1936) serves as a center around which circulates David Rimmer’s eye-popping Variations on a Cellophane Wrapper (1970), T. Marie’s gorgeous minimalist video series Panchromes I, II, III (2014), Janie Geiser’s photo-collaged Flowers of the Sky (2016), William E. Jones’ appropriated images of labor and workers on foreign currency in Model Workers (2014), and Amit Dutta’s riff on the work of 18th century Indian miniature painter Nainsukh. Onscreen pre-show is Barry Doupé’s Lite-Brite-like video loop Dots (2016).
Friday, January 13, 2017 - 19:00 to Saturday, January 14, 2017 - 18:55
For the 10th and final event of "Dreamlands: Expanded", a series of expanded cinema events organized by Microscope in collaboration with the Whitney Museum of American Art as part of the exhibition "Dreamlands: Immersive Cinema and Art, 1905-2016", we are thrilled to present a new multi-projection and sound performance "The Owl Flies at Twilight" composed by the Optipus collective & orchestra in its largest configuration to date featuring 28 artists.
New York collective or “media laboratory” Optipus, led by Bradley Eros, hints at the historic demise of analog media and the wisdom resulting from this awareness in their new work titled “The Owl Flies at Twilight”, referencing G.W.F. Hegel’s famous quote.