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This GoFundMe campaign will run through May 10, 2024 Please spread the word and donate at https://gofund.me/6dbcb337 <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=c67d075da8&e=857b71a9cb> / / / * --- * \ \ \ *This Week [March 30 - April 7, 2024] in Avant Garde Cinema* To receive the weekly listing directly via email rather than through Frameworks, just hit Subscribe <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=091193278b&e=857b71a9cb> . *DEADLINES APPROACHING* **** Enter upcoming calls for entry here <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=c559f63b0e&e=857b71a9cb> **** ___________________________________________________________________________________ *sorted by submission deadline* 03.30.2024 Braziers International Film Festival <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=6a286898c6&e=857b71a9cb> (Regular Deadline) 03.30.2024 Cauldron International Film and Video Festival <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=c7867fe17c&e=857b71a9cb> (Late Deadline) 03.31.2024 Mimesis Doc Fest <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=257541f6f4&e=857b71a9cb> (Late Deadline) 03.31.2024 Experimental Film & Video Festival in Seoul (EXiS) <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=c1977c9976&e=857b71a9cb> 03.31.2024 Laterale Film Festival <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=6b4e8db970&e=857b71a9cb> (Sixth Deadline) 04.01.2024 Analogica <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=5b18f18564&e=857b71a9cb> (Late Deadline) 04.01.2024 Chicago Underground Film Festival <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=6da408c817&e=857b71a9cb> (Late Deadline) 04.01.2024 Sans Souci Festival of Dance Cinema <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=548d40d030&e=857b71a9cb> (Regular Deadline) 04.01.2024 The Franklin Furnace FUND for Performance Art <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=c5a560aa44&e=857b71a9cb> 04.05.2024 VSW Project Space Residency <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=15a04d03ff&e=857b71a9cb> 04.10.2024 Oak Cliff Film Festival <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=a102b77567&e=857b71a9cb> (Late Deadline) 04.15.2024 WNDX Festival of Moving Image <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=29559a5629&e=857b71a9cb> 04.18.2024 Locarno Film Festival <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=64f546db01&e=857b71a9cb> (Regular Deadline) 05.17.2024 Edinburgh Short Film Festival <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=42509d4b59&e=857b71a9cb> (Regular Deadline) 05.31.2024 25FPS Festival <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=8a29e2e440&e=857b71a9cb> 05.31.2024 San Diego Underground Film Festival <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=96786e8c0a&e=857b71a9cb> (Early Deadline) 06.01.2024 Engauge Experimental Film Festival <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=f7ae9a3e49&e=857b71a9cb> 06.15.2024 RPM Fest - Revolutions Per Minute Festival <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=9c14ec2b18&e=857b71a9cb> (Extended Deadline) *EVENTS* **** Enter your event announcements here <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=85a0cae1b3&e=857b71a9cb> **** ___________________________________________________________________________________ *complicated sorting but a true attempt, enjoy!* This week's programs (summary): - 62nd Ann Arbor Film Festival <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=886963e64f&e=857b71a9cb> [March 26-April 7, Ann Arbor, MI + online] - EC: George & Mike Kuchar <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=cc2bbc0148&e=857b71a9cb> [March 30, New York, NY] - EC: George Landow, Aka Owen Land <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=04bd8b24ca&e=857b71a9cb> [March 30, New York, NY] - X~PERI~MENTAL ANIMATION <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=40d0887959&e=857b71a9cb> [March 30, San Francisco, CA] - Agnès Varda Shorts, Program 1 <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=28d4ea12e0&e=857b71a9cb> [March 31, Berkeley, CA] - Scott Stark: Alternating Frames <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=c4262efdab&e=857b71a9cb> [April 2, Los Angeles, CA] - In Situ: Clint Enns, Jackie Gallant & Eduardo Menz <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=814b56c223&e=857b71a9cb> [April 3, Montreal, QC, Canada] - From Colonial Statues To Carnival Masks <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=e7a282492b&e=857b71a9cb> [April 4, Berkeley, CA] - Kenneth Anger, Robert Breer, And Carmen D’Avino <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=acf069f510&e=857b71a9cb> [April 4, New York, NY] - Wavelength: Remembering Michael Snow <https://www.sfcinematheque.org/screening/wavelength-remembering-michael-snow/> [April 4, San Francisco, CA] - EC: Léger & Murphy / Picabia & Clair / Man Ray & Duchamp <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=9a145ee381&e=857b71a9cb> [April 5, New York, NY] - EC: Christopher Maclaine <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=8b4a237d67&e=857b71a9cb> [April 5, New York, NY] - a four hour long marathon of George Kuchar's Weather Diaries <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=ec7daae06d&e=857b71a9cb> [April 5, Santa Fe, NM] - Short Films By Nicolás Pereda <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=d96646ac41&e=857b71a9cb> [April 6, Berkeley, CA] - Together: Overlapping Histories, Friendships & Dialogues <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=d04f448e94&e=857b71a9cb> [April 6, London, England, UK] - EC: Walden (Diaries, Notes, And Sketches) <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=6f269ade4a&e=857b71a9cb> [April 6, New York, NY] - Nervous Gender <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=781a3e7dbe&e=857b71a9cb> [April 6, San Francisco, CA] - Sambizanga <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=24979fdbe4&e=857b71a9cb> [April 7, Berkeley, CA] - EC: Reminiscences of A Journey To Lithuania <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=7d8d95bcab&e=857b71a9cb> [April 7, New York, NY] - The Long Conversation <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=0cebc20b22&e=857b71a9cb> [ongoing, online] - 6x6 Project: Artists' Moving Image Works <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=2ca6c373bc&e=857b71a9cb> [ongoing, online] *STARTING BEFORE MARCH 30, 2024* *March 26 - April 7* Venue type: *Both physical and online* Ann Arbor Film Festival <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=f6614eac72&e=857b71a9cb> various times + locations, see below *62nd Ann Arbor Film Festival* March 26-31 (in person) & March 26 - April 7 (online) Presenting 10 feature films and 100 short films in competition in person and online. Juror programs and selected other programs will be available online. Additional in-person-only special programs, performances, panel discussions, and exhibitions will be presented at the Michigan Theater, State Theatre, and other locations in downtown Ann Arbor. Complete schedule and tickets at the AAFF website linked above. *SATURDAY, MARCH 30, 2024* Venue type: *Live, physical event* Anthology Film Archives <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=43c246107c&e=857b71a9cb> 5:15pm ET, 32 Second Avenue, New York, NY *EC: GEORGE & MIKE KUCHAR* All films in this program have been preserved by Anthology Film Archives with support from the National Film Preservation Foundation. *PUSSY ON A HOT TIN ROOF* 1961, 14 min, 8mm-to-16mm “It glows with the embers of desire! It smokes with the revelation of men and women longing for robust temptations that will make them sizzle into maturity with a furnace-blast of unrestrained animalism. A film for young and old to enjoy.” –George Kuchar *TOOTSIES IN AUTUMN* 1963, 15 min, 8mm-to-16mm A cautionary tale about past-their-prime thespians caught up in a typically Kucharian vortex of madness. *THE CONFESSIONS OF BABETTE* 1963, 15 min, 8mm-to-16mm An early masterpiece by Mike Kuchar in which Babette tells all, leaving no turgid stone unturned. *ANITA NEEDS ME* 1963, 16 min, 8mm-to-16mm “All the horrors and guilt of the human mind exposed! It reaches deep into the workings of a woman’s cravings. Your emotions will be squeezed.” –George Kuchar Total running time: ca. 65 min. [*THE CONFESSIONS OF BABETTE* and *ANITA NEEDS ME* are not part of the Essential Cinema collection, but are included here as a special bonus.] *___________________________________________________________________* Venue type: *Live, physical event* Anthology Film Archives <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=98a0fe7850&e=857b71a9cb> 7:15pm ET, 32 Second Avenue, New York, NY *EC: GEORGE LANDOW, AKA OWEN LAND* “The unique contribution of Land’s work lies in the fusion of intellectual reason and, significantly, the humor that distances it from the supposedly ‘boring’ world of avant-garde film. Having explored the basic properties of the celluloid strip itself in early works such as *FILM IN WHICH THERE APPEAR…*, his attention turned to the spectator in a series of ‘literal’ films that question the illusionary nature of cinema through the use of word play and visual ambiguity. His work often parodies experimental film itself by mimicking his contemporaries and mocking the solemn approach of film theorists and scholars.” –Mark Webber, TWO FILMS BY OWEN LAND *FLEMING FALOON* (1963, 6 min, 16mm) *FILM IN WHICH THERE APPEAR EDGE LETTERING, SPROCKET HOLES, DIRT PARTICLES, ETC.* (1965-66, 5 min, 16mm, silent) *DIPLOTERATOLOGY* (1967/78, 7 min, 16mm, silent) *THE FILM THAT RISES TO THE SURFACE OF CLARIFIED BUTTER* (1968, 9 min, 16mm) *INSTITUTIONAL QUALITY* (1969, 5 min, 16mm) *REMEDIAL READING COMPREHENSION* (1970, 5 min, 16mm) *WHAT’S WRONG WITH THIS PICTURE?* (1972, 13 min, 16mm) *THANK YOU JESUS FOR THE ETERNAL PRESENT* (1973, 6 min, 16mm) *A FILM OF THEIR 1973 SPRING TOUR COMMISSIONED BY CHRISTIAN WORLD LIBERATION FRONT OF BERKELEY, CALIFORNIA* (1974, 11.5 min, 16mm) *FILM IN WHICH…*, *INSTITUTIONAL QUALITY*, and *A FILM OF THEIR 1973 SPRING TOUR…* have been preserved by Anthology Film Archives through the National Film Preservation Foundation’s Avant-Garde Masters Grant program and The Film Foundation. Funding provided by the Hobson/Lucas Family Foundation. Total running time: ca. 70 min. *___________________________________________________________________* Venue type: *Live, physical event* Other Cinema <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=b167c2d51c&e=857b71a9cb> 8pm PT, ATA Gallery, 992 Valencia (@ 21st), San Francisco, CA *X~PERI~MENTAL ANIMATION* JEREMY ROURKE + KATHLEEN QUILLIAN + HARRY SMITH + Our seasonal celebration of all things Animated is anchored on local hero Jeremy Rourke's sensational set of pixillated eye-poppers, featuring his new piece *Raindance Redux*, commissioned by the Orphan Film Fest! Jeremy gigs, jigs, and zig-zags over our gallery pedestals in his five-title, half-hour hullaballoo ending with a Toon Tune dedicated to dear departed Helen Hill. Jeremy does a podium handstand in her honor! Kathleen Quillian works those same pedestals with her *Ten Dollar Bill* zoetrope zinger, with a live whirly-tube track! Esoteric alchemist Harry Smith's early direct-animations are displayed in Paola Igliori's *American* *Magus*, after we are treated to an eccentric history of animation masters: Winsor McCay, Max Fleischer, Len Lye, Philip Stapp, Bruce Bickford, and Sally Cruikshank's 1978 *Quasi at the Quackadero* (on 16mm!). Come early for free candy, archival gems from CCA(C)'s Animation Department, and Jim Henson's 1968 *Time Piece*. *SUNDAY, MARCH 31, 2024* Venue type: *Live, physical event* Pacific Film Archive <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=a550beed52&e=857b71a9cb> 2PM PST, 2155 Center St, Berkeley, CA 94720 *Agnès Varda Shorts, Program 1* This collection of early short works finds Agnès Varda observing people, places, and spaces from France to Cuba. In *L’opéra-Mouffe*, she evokes the “imaginative world of pregnancy” with a dreamlike montage that combines poetic imagery with documentary portraits shot in the gritty neighborhood of Rue Mouffetard. Capturing azure waters and lobster-skinned tourists in the saturated hues of a vacation slide, the jaunty, witty *Du côté de la côte* celebrates the beauty and absurdity of the Côte d’Azur, while *Ô saisons, ô chateaux*, commissioned by the national tourism board to promote the medieval castles of the Loire Valley region, is equally colorful and playful. A collection of photographs Varda took on her visit to Cuba in the winter of 1962–63 forms the basis of the innovative *Salut les Cubains*, narrated by Varda and actor Michel Piccoli, which captures the revolutionary spirit and reveals individuals alive with hope for the future. *L’opéra-Mouffe*, 1958, 17min *Ô saisons, ô chateaux*, 1958, 22min *Du côté de la côte*, 1958, 24min *Salut les Cubains*, 1964, 28min *TUESDAY, APRIL 2, 2024* Venue type: *Live, physical event* Film Forum <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=ab5e0c3989&e=857b71a9cb> 7:30pm PT, 2220 Beverly Blvd, Los Angeles, CA *Scott Stark: Alternating Frames* LA Filmforum welcomes back the wonderful filmmaker Scott Stark, whom we last hosted in 2013. Scott has a couple of fantastic expanded cinema dual-projector works getting their Los Angeles premieres. His ability to overlay images, cut rapidly between two different images, or find beautiful effects in two side-by-side images is unparalleled. The rotating paddle between two projectors creates a type of three-dimensionality that is unlike anything else and can only be experienced in person. We hope you can join us on this rare Tuesday night screening, the only available night when we could catch him on a brief visit to LA. Warning: Strobe effects are a pretty consistent element of the program. If you are sensitive to them, this is a show to skip, alas. *Night Out of Song* 2022, 2 projector performance, color, sound, approx. 18:00 A double 16mm projector performance, with a rotating shutter in front of the projectors providing alterations between the two images. Abstractions are lifted from the urban palette and deposited atop shapes both organic and inorganic, in an ebb and flow of movement through the city. A kind of breathing. *Tenpin Arpeggio* 2024, digital video, color/sound, 10 mins. Los Angeles premiere! Movements of bowlers in an American bowling alley form an arpeggio of sound and image against backgrounds of abstraction and calls for civic engagement. The hypnotic cutting threatens to break apart the frame, as if the bowlers were attempting to free themselves from the restraints of their physical environment. *Music in the Air* 2023, 2-projector performance, color, sound, approx. 16:30 Los Angeles premiere! In a live double-16mm projector performance, Scott Stark feeds gorgeous Kodachrome found footage, from a 1950s promo doc about a fabled teen music camp near Stockton, CA, into his propeller-driven system to generate a transformative visual spectacle. Using two reels of film, the on-screen image alternates between the left and right projectors, transposing objects onto bodies, landscapes onto buildings, sidewalks onto swimming pools, and subtle musical movements onto frenetic explosions of color. And more to be announced! *WEDNESDAY, APRIL 3, 2024* Venue type: *Live, physical event* *la lumière collective* <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=378cdd6aa3&e=857b71a9cb> 7:30 EST, 7080 rue Alexandra #506, Montréal, QC, Canada *IN SITU : Clint Enns, Jackie Gallant & Eduardo Menz* Proposed by la lumière collective and programmed by Emma Roufs, IN SITU is a series of events which presents singular audiovisual works and live sound performances produced by local artists passionate about cinematographic material, audiovisual experimentation and art sound. 📽 *MONASTIRAKI *| Clint Enns | 2018 | Super 8 | 3 mins 📽* I FOR NDN *| Clint Enns en collaboration avec Darryl Nepinak | 2011 | VHS à DV à numérique | 1 min 34 📽 *VIDEO/POEM *| Clint Enns | 2015 | Numérique | 6 mins 📽 *LET ME ASMR YOU *| Clint Enns | 2014 | Numérique | 3 mins 📽 *A FILM PORTRAIT ON RECONSTRUCTING 12 POSSIBILITIES THAT PRECEDED THE DISAPPEARANCE OF ZOE DEAN DRUM *| Eduardo Menz | 2011 | DVCAM à 35mm | 11 mins 26 📽 *DOCUMENTATION OF SELECTED WORKS *| Clint Enns | 2018 | Numérique | 5 mins 🎶 *PERFORMANCE SONORE EN DIRECT PAR JACKIE GALLANT* | 20 to 30 mins 📽 *ACROBAT *| Eduardo Menz | 2012 | Numérique | 29 mins 📽 *SUMMER SONG *| Clint Enns | 2015 | Super 8 à numérique | 5 mins 24 *THURSDAY, APRIL 4, 2024* Venue type: *Live, physical event* Pacific Film Archive <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=429e29e4b6&e=857b71a9cb> 7:30PM PST, 2155 Center St, Berkeley, CA 94720 *From Colonial Statues to Carnival Masks: Amílcar Cabral and the Liberation of Guinea-Bissau* These four films, all concerned with Guinea-Bissau’s and Cape Verde’s struggles for independence, are from different time frames and perspectives. The liberation leader and political thinker Amílcar Cabral is a thread through them all. *Cacheu*, another of Portuguese filmmaker Filipa César’s single-take performance films, analyzes four statues seen in photographs and film footage in different configurations over time, revealing the dark past of the Portuguese colonial presence in Africa. *Madina Boé*, made in support of Guinea-Bissau’s liberation struggle by Cuban filmmaker José Massip, includes portraits of guerillas—a hunter, canoe builder, and poet, as well as an anti-fascist Portuguese doctor. The first film of independent Guinea-Bissau, *The Return of Amílcar Cabral* uses Guinean songs and archival footage of Cabral, who was assassinated in 1973, to honor him on the occasion of the transfer of his remains from Conakry to Guinea-Bissau in 1976. *Carnival in Bissau*, by French filmmaker Sarah Maldoror (of Guadaloupean descent), is a joyous meditation on the importance of creativity to the African people and its role in strengthening Guinea-Bissau’s sense of national unity. Beautiful, ephemeral masks replace the colonial statues that opened the program. We will play a selection of music featured in Ntone Edjabe’s new book *La Discothèque de Sarah Maldoror* beginning at 7pm, when the doors open. *Cacheu*, Filipa César, Germany, Guinea, Guinea-Bissau, 2012, 10min, digital *Madina Boé*, José Massip, Cuba, Guinea-Bissau, 1969, 34min, 16mm *The Return of Amílcar Cabral (O regresso de Amílcar Cabral)*, Djalma Fettermann, Flora Gomes, José Bolama, Josefina Crato, Sana na N'Hada, Guinea-Bissau, Sweden, 1976, 32min, DCP *Carnival in Bissau (A Bissau le carnaval)*, Sarah Maldoror, Guinea-Bissau, 1980, 18min, digital *___________________________________________________________________* Venue type: *Live, physical event* Anthology Film Archives <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=61bbabd207&e=857b71a9cb> 7:30pm ET, 32 Second Avenue, New York, NY *KENNETH ANGER, ROBERT BREER, AND CARMEN D’AVINO* This program focuses on Robert Breer and Kenneth Anger, as well as painter and animator Carmen D’Avino, whose once-celebrated films have fallen into relative obscurity. Breer lived in Paris from 1949-59, a period that saw him develop his highly distinctive and still unparalleled approach to experimental animation. Anger too was in Paris after the war, from 1950-53, during which time he began filming the project that would become *RABBIT’S MOON*. Like Breer, D’Avino’s art encompassed both painting and filmmaking. His films attracted a great deal of attention at the time, both within the avant-garde film scene and in the wider cultural sphere (*PIANISSIMO* and *BACKGROUND* were nominated for Academy Awards). Though his films were mostly created following his return to the U.S. in 1951, his experiences in France were formative. As part of this program, we’ll be screening two of his greatest early films, as well as 1973’s *BACKGROUND*, which explicitly explores his time in Paris. Kenneth Anger *RABBIT’S MOON* 1950-70, 15 min, 35mm. Preserved by the UCLA Film & Television Archive, with funding from the Film Foundation. Robert Breer *RECREATION* 1956, 1.5 min, 16mm-to-35mm *MOTION PICTURES NO. 1* 1956, 4.5 min, 16mm, silent *JAMESTOWN BALOOS* 1957, 6 min, 16mm-to-35mm *EYEWASH* 1959, 3 min, 16mm-to-35mm *RECREATION*, *JAMESTOWN BALOOS*, and *EYEWASH* were preserved by Anthology with generous support from the Andy Warhol Foundation for the Visual Arts and the National Endowment for the Arts. Carmen D’Avino *THE ROOM* 1959, 5 min, 16mm. Print courtesy of the Academy Film Archive. *PIANISSIMO* 1963, 6 min, 35mm. Print courtesy of the Academy Film Archive. *BACKGROUND* 1973, 19 min, 35mm. Print courtesy of the Academy Film Archive. Total running time: ca. 65 min *___________________________________________________________________* Venue type: *Live, physical event* San Francisco Cinematheque <https://www.sfcinematheque.org/screening/wavelength-remembering-michael-snow/> 7:30pm PT, The Lab, 2948 16th Street San Francisco, CA 94103 *Wavelength: Remembering Michael Snow* I am not a professional. My paintings are done by a filmmaker, sculpture by a musician, films by a painter, music by a filmmaker, films by a musician, music by a sculptor… sometimes they all work together. Also many of my paintings have been done by a painter, sculpture by sculptor, films by a filmmaker, music by a musician. — Michael Snow, 1967 An artist known for confounding intermedia work virtually every medium, Toronto-born Michael Snow’s (1928–2023) was a hugely influential filmmaker—his 1967 film *Wavelength* stands as a foundational work of avant-garde cinema, a temporal monument in film history, an epic consideration of film form. Widely discussed and historicized yet rarely screened in public, the film—succinctly summarized as a slowly-creeping camera zoom across a New York loft—”a room in which a dozen businesses have lived and gone bankrupt”*—punctuated by (and ignoring) human events. Much more than mere minimalist gesture or provocative put-on, in-person viewings of *Wavelength* provide cinematic experiences variously and simultaneously meditative, kinetic and sonically visceral. In memory of Snow, Cinematheque inaugurates a monthly screening series at The Lab with a memorial presentation of this explorative monument to patience, anticipation, time and space. This evening’s presentation of *Wavelength* will be preceded by a lesser-known 1967 room film *Standard Time* and the sumptuously slow motion film/video hybrid *See You Later/Au Revoir* (1990). As a bonus, program opens with a spoiler: *WVLNT (Wavelength For Those Who Don’t Have the Time)* (2003), Snow’s ironic, abrreviational re-edit of the of the slow-moving and maddening masterpiece. (Steve Polta) The cool kick of Michael Snow’s *Wavelength* was in seeing so many new actors—light and space, walls, soaring windows and an amazing number of color-shadow variations that live and die in the windowpanes—made into major esthetic components of movie experience. In Snow’s Standard Time, a waist-high camera shuttles back and forth, goes up and down, picking up small, elegantly lighted square effects around a living room very like its owner: ordered but not prissy. A joyous spiritual little film, it contains both his singular stoicism and the germinal ideas of his other films, each one like a thesis, proposing a particular relationship between image, time and space. The traits include rigorous editing, attention to waning light, fleeting human appearances (which suggest a forbidding, animistic statement about life: that the individual is a short-lived, negligible phenomenon and that it is the stability of the inanimate that keeps life from flying away), a rich-dry color so serene as to be almost holy, and a driving beat that is like updated Bach.[…] When the electronic sound in *Wavelength* reaches an ear-cracking shriek, the one-shot movie, a 45-minute zoom aimed at four splendid window rectangles, burns hot white, like the filaments in a light bulb. (Manny Farber. “*Wavelength*, *Standard Time*, *←→*, and *One Second in Montréal*.” Artforum, January 1970. *Quotation above also from Manny Farber.) SCREENING: *WVLNT (Wavelength For Those Who Don’t Have the Time)* (2003) by Michael Snow; digital video *Standard Time* (1967) by Michael Snow; 16mm *See You Later/Au Revoir* (1990) by Michael Snow; 16mm *Wavelength* (1967) by Michael Snow; 16mm *FRIDAY, APRIL 5, 2024* Venue type: *Live, physical event* Anthology Film Archives <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=8ff01f87a6&e=857b71a9cb> 6:30pm ET, 32 Second Avenue, New York, NY *EC: LÉGER & MURPHY / PICABIA & CLAIR / MAN RAY & DUCHAMP* Fernand Léger & Dudley Murphy *BALLET MÉCANIQUE* (1924, 19 min, 35mm, silent. Preserved by Anthology Film Archives.) “The two fundamental works of the graphic cinema from the 1920s made without animation were Fernand Léger’s *BALLET MÉCANIQUE* and Marcel Duchamp’s *ANEMIC CINEMA*. By extending a metaphor from several of his paintings into film, Léger compared a universe of human actions and everyday objects to the functions of a machine.” –P. Adams Sitney, VISIONARY FILM René Clair & Francis Picabia *ENTR’ACTE* (1924, 22 min, 35mm) One of the indisputable masterpieces of Dada cinema, *ENTR’ACTE* was created, as its title suggests, to function as a diversion in between the two acts of Francis Picabia and Erik Satie’s avant-garde ballet RELÂCHE. Man Ray *LE RETOUR À LA RAISON* (1923, 2 min, 16mm, silent) *ÉTOILE DE MER* (1927, 13 min, 16mm, silent) *EMAK BAKIA* (1927, 18 min, 35mm, silent) “All the films I have made have been improvisations. I did not write scenarios. It was automatic cinema. I worked alone. My intention was to set in motion the compositions I made in photography. As for the camera, I use it to capture something I do not want to paint. But I am not interested in producing ‘beautiful photography’ for the cinema.” –Man Ray, “All the Films I Have Made” (1965) Marcel Duchamp & Man Ray *ANEMIC CINEMA* (1926, 7 min, 35mm, silent) “Duchamp alternates head-on views of his illusion-producing roto-reliefs with similarly turned discs of words, elaborate French puns printed spirally, creating a fluctuation of illusory depth within a very narrow spectrum (from the slightly convex or slightly concave illusions) to the flat readings. In this, his only film, Duchamp typically crystallized the significance of the graphic film.” –P. Adams Sitney, VISIONARY FILM Total running time: ca. 85 min *___________________________________________________________________* Venue type: *Live, physical event* Anthology Film Archives <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=b016e0d1b1&e=857b71a9cb> 8:45pm ET, 32 Second Avenue, New York, NY *EC: CHRISTOPHER MACLAINE* “The few facts that are known about Maclaine are, at best, sketchy. He was a published poet, a sort of down and out San Francisco bohemian who later became one of the psychic casualties of that scene. His last years were spent at Sunnyacres, a state mental hospital in Fairfield, California. These films, along with Ron Rice’s, are clearly the most significant work to come out of the beat period.” –J.J. Murphy All films preserved by Anthology Film Archives. *THE MAN WHO INVENTED GOLD* (1957, 14 min, 16mm) *BEAT* (1958, 6 min, 16mm) *SCOTCH HOP* (1959, 5.5 min, 16mm) *THE END* (1953, 35 min, 16mm) Total running time: ca. 65 min. [*THE MAN WHO INVENTED GOLD*, *BEAT*, and *SCOTCH HOP* are not part of the Essential Cinema collection, but they are included here as a special bonus] *___________________________________________________________________* Venue type: *Live, physical event* No Name Cinema <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=f9e4358ad4&e=857b71a9cb> 6pm MT, No Name Cinema, 2013 Pinon Street, Santa Fe, NM *a four hour long marathon of George Kuchar's WEATHER DIARIES* A longtime luminary of underground cinema, George Kuchar has defined his own inimitable track, producing ingenious, low-budget melodramas at a stunningly prolific pace since he began shooting 8mm as a teenager in the Bronx. Like his extraordinary early films, the *Weather Diaries*' lack of pretension and gloss reveals a sincerely dramatic, funny and vulnerable perspective of the endlessly inspired and inspiring entity that is George Kuchar. [Join us as the seasons change in this marathon viewing of] journalistic escapades chasing tempests both meteorological and corporeal. - Harvard Film Archive "This whole thing started because of my interest in nature. Since I was a city boy, living in The Bronx, nature came to me via the colorful tapestry of sky that loomed above the tenements. The awe of summer thunderstorms, smothering blizzards and window rattling nor'easters left a lasting impression on me. I sought out, via library books, the superstars of this meteorological majesty and read up on hurricanes, tornadoes and other terrors that occasionally whirled into urban awareness. Loving to draw and paint, I happened to come upon the books of Eric Sloane. He was an artist very interested in Americana and American weather. His beautifully illustrated volumes on the atmosphere were of great aesthetic and scientific value to me. I learned how to read the clouds, and it made going out everyday a kind of heavenly horoscope. Eventually I was lucky enough to get a job doing weather maps for a local NBC news show. Frank Fields was the weatherman on that program, and he was astounded that I knew what the clouds accompanying storm fronts looked like. Previous visual artists had drawn amorphous-looking atrocities that resembled deflated duffle bags. Mine were anatomically correct aerial artifacts of blossoming beauty. His weather maps were my chance to display the knowledge I had acquired from Eric Sloane and from scanning the skies with new eyes. I developed a fascination with thunderstorms and the furious whirlwinds they sometimes unleashed on the landscape. Instead of just reading accounts of these monstrous, whirling dervishes, and the lives of those caught in the vicinity of the vortex, I decided to take an airplane and go to where they huffed and puffed. So I wound up in Oklahoma City during springtime. I'd stay at the YMCA for three or four weeks and try to absorb, on all levels, the mysterious elements that now obsessed me. I was young and time stretched ahead of me in a seemingly endless event horizon. Perhaps I could fill my head with images and sound that previously had only come from reading books on this subject. This would be the real thing. I am not a storm chaser as I never learned how to drive a car. I wanted to experience springtime storms on the American plains like the simple folk I read about in those library books. Therefore the videos in the weather diaries depict the turmoil, tedium, terror and televised terrain of tornado country through the eyes of a transplant. At times I try to blend in, to digest the alien ambiance, the fast food and slow-motion days. Ailments galore pepper the series along with glimpses of those who pass like gas, vapors of vitality to sniff at with a gizmo that doesn't have a nose. But I do hope you enjoy what its eye captures on this journey of jubilant junk food and delightful dread." -George Kuchar *SATURDAY, APRIL 6, 2024* Venue type: *Live, physical event* Pacific Film Archive <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=fa611615ba&e=857b71a9cb> 7PM PST, 2155 Center St, Berkeley, CA 94720 *Short Films by Nicolás Pereda* One of the major voices of contemporary Mexican cinema (and currently a film professor at UC Berkeley), Nicolás Pereda has been featured in retrospectives around the world. This program offers a rare opportunity to view some of his evocative short films on the big screen, from his early *Interview with the Earth*, a docu-fiction hybrid look at how two children deal with tragedy, to the recent *Flora*, where an onlooker demands a role in Pereda’s films. *The Palace* opens the doors to a large house shared by multiple women, while *Dear Chantal* renders a moving, magical homage to Chantal Akerman. *Flora*, Nicolás Pereda, Mexico, 2022, 11min, DCP *Dear Chantal*, Nicolás Pereda, Mexico, 2021, 5min, DCP *The Palace*, Nicolás Pereda, Mexico, 2013, 34min, DCP *Interview with the Earth*, Nicolás Pereda, Mexico, 2008, 18min, DCP *___________________________________________________________________* Venue type: *Live, physical event* Close-Up <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=131de4390e&e=857b71a9cb> 6.30pm GMT+1 Close-Up Film Centre, 97 Sclater Street, London E1 6HR, UK *Together: Overlapping Histories, Friendships & Dialogues.* Films by Ute Aurand, Robert Beavers, Luke Fowler, Anthea Kennedy and Ian Wiblin, Gregory J. Markopoulos, Renate Sami, Peter Todd. “There is no language. There is no art. There is no knowledge. There is but film as film: the beginning and the eternal moment.” – Gregory J. Markopoulos. “In poetry, something else happens. Hard to say what it is. Presence, let’s say, soul or spirit, an empathy with whatever it is that’s dwelt upon, feeling for it – to the point of identification". – Margaret Tait This latest programme of artists' films in an ongoing series curated by Peter Todd brings together filmmakers with overlapping histories, friendships, and dialogues. Ute Aurand and Peter Todd met thanks to the late Margaret Tait and remain active in the exhibition and preservation of her remarkable 'film poems'. Robert Beavers takes forward the late Markopoulos' films with Berlin restoration workshops steadily presenting fresh 16mm prints of his epic, 80-hour *Eniaios* at the Temenos site in Arcadia, Greece. Rare 16mm prints of Markopoulos’ and Tait’s work courtesy of Temenos Verein and the Estate of Margaret Tait. This programme also presents work by Renate Sami, Anthea Kennedy & Ian Wiblin’s. Luke Fowler’s acclaimed recent work includes *Being in a Place: A Portrait of Margaret Tait*. In fond memory of Renate Sami (10.02.1935 - 24.12.2023) *Bliss*, Gregory J. Markopoulos, 1967, 6 min, 16mm *Cape Cod*, Renate Sami, 2018, 3 min *Fenster*, Anthea Kennedy and Ian Wiblin, 2024, 5’30 min, World Premiere *Four Diamonds*, Ute Aurand, 2016, 4’30 min, 16mm *The Leaden Echo and the Golden Echo*, Margaret Tait, 1955, 7 min, 16mm *A Visit with Robert*, Luke Fowler, 2013, 3 min, 16mm, World Premiere *The Suppliant*, Robert Beavers, 2010, 5 min, 16mm *Together*, Peter Todd, 2018, 3 min, 16mm *A Year/Ein Jahr*, Renate Sami, 2011, 12 min *___________________________________________________________________* Venue type: *Live, physical event* Anthology Film Archives <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=60421596b4&e=857b71a9cb> 6pm ET, 32 Second Avenue, New York, NY *EC: WALDEN (DIARIES, NOTES, AND SKETCHES)* by Jonas Mekas, 1968-69, 180 min, 16mm “Since 1950 I have been keeping a film diary. I have been walking around with my Bolex and reacting to the immediate reality: situations, friends, New York, seasons of the year. On some days I shot ten frames, on others ten seconds, still on others ten minutes. Or I shot nothing. When one writes diaries, it’s a retrospective process: you sit down, you look back at your day, and you write it all down. To keep a film (camera) diary, is to react (with your camera) immediately, now, this instant: either you get it now, or you don’t get it at all.” –Jonas Mekas *___________________________________________________________________* Venue type: *Live, physical event* Other Cinema <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=0a44c2e5b7&e=857b71a9cb> 8pm PT, ATA Gallery, 992 Valencia (@ 21st), San Francisco, CA *NERVOUS GENDER* SUSAN STRYKER ON CRONENWETT's MAGGOTS AND MEN + TRANS SHORTS Living right here in the City, Susan Stryker is a professor and filmmaker whose work focuses on gender and human sexuality...and is in fact one of the world's leading experts on Trans history and sensibility. We are delighted to have her in the house tonight to introduce the premiere revival of Cory Cronenwett's *Maggots and Men*, a utopian re-visioning of the Kronstadt Uprising of 1921, featuring film history's first cast of over 100 transgender actors! The hour production--written by ATA staffer Ilona Berger and shot here in SF with many of our neighbors--paints a portrait of formerly pro-Soviet sailors at the Kronstadt garrison who rebelled against the perceived failures of the new Bolshevik state. Stryker contextualizes this breakthrough work within new gender theories and practices, answering questions and affording precious insider insights. The evening is opened by 3 (maybe more?) personal essays on the non-binary experience: Benja Thomas' (in person) new and exquisite *leafmold*, Shani Heckman's already-classic *Wrong Bathroom*, and the debut of Anto Astudillo's *How to Make an Avatar and Render my Body*. Free Bud Lite to support their trans stance! *SUNDAY, APRIL 7, 2024* Venue type: *Live, physical event* Pacific Film Archive <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=de6313fb5b&e=857b71a9cb> 4PM PST, 2155 Center St, Berkeley, CA 94720 *Sambizanga* One of the first feature films made by a woman in Africa, *Sambizanga* was cowritten by filmmaker Sarah Maldoror’s husband, Mário Pinto de Andrade, a leader in the Angolan resistance. “The film was seen to be so effective at mobilizing action that the Portuguese colonial authorities banned it from being screened in their then province of Angola. It was first seen publicly in Angola only after the country won its independence in 1974. Based on a novel by Luandino Vieira, a political prisoner of the Portuguese from 1961 to 1974, *Sambizanga* is a fictionalized chronicle of the arrest and fatal imprisonment of a man whose underground activities were an impenetrable secret to all around him. It was at a prison near the Luandan suburb of Sambizanga on February 4, 1961, that the first uprising of what was to become the Angolan resistance movement was staged. The film is set a few weeks before that uprising, during a time of increasingly desperate and repressive security measures by the colonial government” (Tom Mulcaire, Cabinet Magazine). We will play a selection of music featured in Ntone Edjabe’s new book *La Discothèque de Sarah Maldoror *beginning at 3:30pm, when the doors open. *Sambizanga*, Sarah Maldoror, Angola, 1972, 97min, DCP preceeded by: *Foreword to Guns for Banta, (Préface à des fusils pour Banta)*, Mathieu Kleyebe Abonnenc, France, 2011, 27min, digital *___________________________________________________________________* Venue type: *Live, physical event* Anthology Film Archives <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=cff1db016e&e=857b71a9cb> 7:30pm ET, 32 Second Avenue, New York, NY *EC: REMINISCENCES OF A JOURNEY TO LITHUANIA* by Jonas Mekas, 1971-72, 82 min, 16mm-to-35mm Preserved by Anthology Film Archives with support from The Film Foundation. Special thanks to Cineric, Inc., and Trackwise. “The film consists of four parts. The first part contains some footage from my first years in America, 1949-52. The second part was shot in August 1971 in Lithuania. The third part is in Elmshorn, near Hamburg, where I spent eight months in a forced labor camp. The fourth part is in Vienna (1971) with Peter Kubelka, [Hermann] Nitsch, Annette Michelson, Ken Jacobs, etc. The film deals with home, memory, and culture.” –Jonas Mekas *ONGOING* Venue type: *Virtual, online event* Riverwest Radio <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=497c94330e&e=857b71a9cb> streaming 24/7 *THE LONG CONVERSATION* THE LONG CONVERSATION with Xav Leplae and Stephanie Barber is on indefinite hold. But... all episodes from the last year and a half are streaming!!! *___________________________________________________________________* Venue type: *Virtual, online event* 6x6 Project <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=3fe550058c&e=857b71a9cb> streaming 24/7 *Artists' Moving Image Works* 6x6 project is an online artists' community that serves as a platform for disseminating artists' moving image works, and to create an ever-growing network among peers. There are now more than four hundred artists’ film and moving image works available to view on the website. ------------------------------ *Let us know about your alternative film/video event!* Enter your event announcements by going to the Flicker Weekly Listing Form <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=8df1210488&e=857b71a9cb> . 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