The Millennium Film Journal is celebrating the launch of its Fall 2019 issue (no. 70, "Body Memory") with a launch screening at Anthology Film Archives, November 20th at 7:30pm. Featuring work from the New Red Order, Shana Moulton, Ardele Lister, and a 35mm print of Alexandre Larose's "Brouillard #14".
The films of Erin Espelie strike sparks at collisions between the scientific and the poetic. Her lustrous images experiment with representations of nature and light, sometimes in seemingly straightforward pictures of animals or trees in the “wild”; other times experimenting with matted frames and superimpositions. Her rich soundtracks create tensions with the images, finding the ironic contrast between traditional nature films with their anthropomorphizing tendencies against her poetical organizations and concern with language; other times crafting a bold layering of “nat
In the films of Sylvia Schedelbauer, personal internal reverie and expansive cultural history collide. Assembled largely from deeply researched archival footage and radically edited (in an elegantly flickering style entirely her own), Schedelbauer’s films present a strikingly visual space of interiority in which dreams, personal biography, collective memories and family histories fuse to form a complicated vision of fragmented transnational identity in the context of 20th Century history.
Poets, filmmakers, media artists, and video artists are called to submit their work to the 3rd Annual Film and Video Poetry Symposium. This festival and symposium will screen a large scope of film and video projects developed through the medium of poetry. The symposium programmers also curate and present a 30 day gallery exhibit in conjunction with the film screenings.
Brighton Cinecity and Fabrica Gallery host I am Half Sick of Shadows A Dirge for Ruins Cities in the voice of Earth
A cinematic ceremony composed in four acts based on Edgar Allan Poe’s poem The Bells. The poetic gesture functions as a performed amulet for protection, fine-tunes perceptions of Earth and humankind’s disjointed and entangled processes. The film score is made by creating translations of marks found on used shooting targets.
The Spectral Film Festival believes deeply in the capacity of filmmaking to embody individual and collective voices. Innate to its character, this festival seeks to celebrate unconventional forms of expression through experimental, avant-garde, and underground works. We are looking for short-form cinematic pieces that permeate the boundaries of texture, intimacy, and hybridity; those that are unnerving, immersive, expository, and are as daring as they ask their viewer to be in redefining what is accepted as fact.