Now in its 25th year, The Chicago Underground Film Festival, the longest running “underground” film festival in the world, is an internationally recognized program providing a venue for documentary, experimental and avant-garde narrative film and video. The festival’s mission is to select and screen film, video and related works presenting a diverse line up of moving image programming focusing on filmmakers working to reinvent and explore new approaches to established practices, to foster new forms of media art and to build an audience for such work.
Repeats every week 1 times. Also includes Thu Nov 30 2017, Thu Jan 04 2018.
The first edition of Shared Sight is going to take place at MATCA artspace, Colectiva Gazette and Gazette in Cluj-Napoca, Romania. We are expecting short film applications (max length 30`) from filmmakers/ film enthusiasts/ artists from all over the world. You can submit your film by sending us a download link including a short description of the film and a short bio of yours.
We are accepting all film categories submissions from experimental, video-art, fiction, documentary, etc.
Films, video & live performance Followed by Q&A w/ the artist
Microscope is very pleased to welcome San Francisco-based artist Kerry Laitala to the gallery for an evening of her 16mm films, the New York premieres of a new video City Blights as well as a 16mm film performance in three parts titled Astro Trilogy.
A native of London, Ontario, Jack Chambers (1931-1978) was already renowned as a painter before he ventured into filmmaking. He completed six films; the last was his masterpiece, The Hart of London, begun the year he was diagnosed with leukemia. This feature-length experiment in “perceptual realism” combines newsreels, found photography, and original footage. “It's a film of startling juxtapositions that seems to be speaking to elemental issues of life and death, yet it also manages to interweave five or six grand themes and let the viewer feel that they are logically interrelated” (Fred Camper, Chicago Reader). Chief among them is our alienation from nature, evoked in the opening footage of the capture and killing of a deer that has wandered into London, and reprised in every major scene thereafter as one of the costs of civilization.
In Michael Snow’s tenth film, made in the twilight of the American lunar missions, the camera, attached to a robotic arm, casts its roving 360-degree eye across a remote, seemingly otherworldly mountaintop in northern Quebec. To a soundtrack based on the waves and pulses of the camera-activating machine, La Région centrale “transports its audience to a rugged Canadian landscape that is discovered at noon and then explored in seventeen episodes of dizzying motion as the machine’s shadow lengthens, night falls, and light returns” (Martha Langford, Art Canada Institute). Snow’s film is preceded by Daïchi Saïto’s kaleidoscopic exploration of the patterns and contrasts in the landscape of a Montreal park.
Just before I began work on my book Harmony and Dissent, I discovered a trove of photographs depicting participants in a radical German movement, Freikörperkultur (free body culture), the early years of which constituted something of a prototype for the hippie movement that would emerge in California in the 1960s. Many of the photographs were strikingly well composed, unlike more recent images of practitioners of social nudity. But these formal rigours were responsible for only a small part of their charm. More important was this: there was something unbearably sweet about these images of groups of people who were convinced that they might alleviate modernity’s depredation of charity through exposing, completely and frankly, their vulnerable naked selves to one another.