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*This Week [October 4 - 12, 2025] 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=434f25177b&e=857b71a9cb> **** ___________________________________________________________________________________ *sorted by submission deadline* 10.13.2025 Slamdance Film Festival <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=8b0b03a1df&e=857b71a9cb> (Extended Deadline) 10.14.2025 Ann Arbor Film Festival <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=3c3996e117&e=857b71a9cb> (Extended Deadline) 10.15.2025 Wide Open Experimental Film Festival <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=f9fcb39d6c&e=857b71a9cb> (Regular Deadline) 10.15.2025 The Lighthouse Works Fellowship Program <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=cbf007a1fd&e=857b71a9cb> 11.01.2025 Single Frame <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=53e65f94df&e=857b71a9cb> (Early Deadline) 11.01.2025 Experiments in Cinema <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=2556d3a50e&e=857b71a9cb> 11.07.2025 Coney Island Film Festival <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=00ee389d7b&e=857b71a9cb> (Regular Deadline) 11.16.2025 Cosmic Rays <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=d081a98c2e&e=857b71a9cb> 11.30.2025 Interbay Cinema Society Lightpress Grants <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=4d897c16c0&e=857b71a9cb> 12.15.2025 Cauldron International Film and Video Festival <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=02733355a8&e=857b71a9cb> (Regular Deadline) 03.31.2026 Fracto Experimental Film Encounter <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=e3dd1a761c&e=857b71a9cb> *EVENTS* **** Enter your event announcements here <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=c31b1a8e7a&e=857b71a9cb> **** ___________________________________________________________________________________ *complicated sorting but a true attempt, enjoy!* This week's programs (summary): - Ben Rivers + Jake Williams <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=da4c995664&e=857b71a9cb> [October 2 - 5, New York, NY] - Canyon Cinema: Recent Acquisitions & New Digitizations (Fall 2025) <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=773f562015&e=857b71a9cb> [October 2 - 9, online] - Bogancloch By Ben Rivers <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=7d56856095&e=857b71a9cb> [October 3 - 9, New York, NY] - Drunken Film Fest <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=3e3e192d74&e=857b71a9cb> [October 4, San Francisco, CA] - In Another Light: Cinema of Memory: A 10 Year Celebration of Home Movies <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=8551323915&e=857b71a9cb> [October 5, Los Angeles, CA] - Lori Goldston <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=ef8a562978&e=857b71a9cb> [October 7, Montreal, QC, Canada] - Ad Hoc #80 Seeing, Basically: New & Old Films By Barbara Sternberg <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=d0f5b116e9&e=857b71a9cb> [October 7, Toronto, ON, Canada] - Jean-Jacques Martinod <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=8f08e792d4&e=857b71a9cb> [October 8, Montreal, QC, Canada] - Celluloid Now <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=bb427a405d&e=857b71a9cb> [October 9 - 12, Chicago, IL] - Quick Billy <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=dd36634edb&e=857b71a9cb> [October 10 - 12, New York, NY] - Long Films For Long Nights: The Curse of The Cat People <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=6762bc4c0a&e=857b71a9cb> [October 10, New York, NY] - 99 Hooker Presents Incredibly Strange Music + Britney Buddha <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=a7775982ee&e=857b71a9cb> [October 10, Oakland, CA] - *O*PTRONICA <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=8048089f26&e=857b71a9cb> [October 11, San Francisco, CA] - Santiago Torres <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=d8a6783042&e=857b71a9cb> [October 12, Los Angeles, CA] *STARTING BEFORE SATURDAY, OCTOBER 4, 2025* *October 2 - 5* Venue type: *Live, physical event* Anthology Film Archives <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=ea3460c67a&e=857b71a9cb> times vary, see below, 32 Second Avenue, New York, NY *BEN RIVERS + JAKE WILLIAMS* Ben Rivers has made films with and about numerous people throughout his career, but one subject he has repeatedly been compelled to return to is the eccentric and self-reliant Jake Williams. Alongside our week-long engagement of Ben Rivers's new film *BOGANCLOCH*, his second feature-length portrait of Williams, we'll be screening the four previous films they have made together: *THIS IS MY LAND* (2006), *I KNOW WHERE I’M GOING* (2009), *TWO YEARS AT SEA* (2011), and *MORE THAN JUST A DRAM* (2014). BEN RIVERS, PGM 1: THIS IS MY LAND + I KNOW WHERE I'M GOING <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=744e8a5d6b&e=857b71a9cb> October 2 at 6:45 PM October 4 at 4:45 PM BEN RIVERS, PGM 2: TWO YEARS AT SEA + MORE THAN JUST A DRAM <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=cb9947d9e3&e=857b71a9cb> October 2 at 8:15 PM October 5 at 4:00 PM *___________________________________________________________________* *October 2 - 9* Venue type: *Virtual, online event* Canyon Cinema <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=b3ee8b651e&e=857b71a9cb> streaming 24/7, Event URL: https://vimeo.com/ondemand/ccffall2025 <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=912853ce4f&e=857b71a9cb> *Canyon Cinema: Recent Acquisitions & New Digitizations (Fall 2025)* This round-up of recent additions to the Canyon Cinema catalog includes a mix of new titles in distribution and recently digitized films. *Pasadena Freeway Stills* (Gary Beydler) *Love It/Leave It* (Tom Palazzolo) *Degrees of Limitation* (Scott Stark) *Pearl Pistols* (Kelly Gallagher) *Exquisit Corpses* (Dana Plays) *Kokoro is For Heart* (Philip Hoffman) *Terrain Ahead* (Anna Kipervaser + Majd Alloush) *___________________________________________________________________* *October 3 - 9* Venue type: *Live, physical event* Anthology Film Archives <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=16587d84b4&e=857b71a9cb> nightly @ 18:30 & 21:00 (EST), 32 Second Avenue, New York, NY *BOGANCLOCH by Ben Rivers* NYC THEATRICAL PREMIERE RUN! “One conception of cinematic duration involves holding a shot for a long time, even – or especially – when dramatic action is scarcely present. A second form, less frequently deployed but equally a rebuff to a culture obsessed with speed and novelty, is created when a director commits to filming the same subject again and again, over a period of many years. Both come together in *BOGANCLOCH*, Ben Rivers’s return to the boreal existence of Jake Williams, the unassuming star of *THIS IS MY LAND* (2006) and *TWO YEARS AT SEA* (2011). Shot on color and hand-processed black-and-white film using anamorphic lenses, *BOGANCLOCH* is a textured portrait of a man who once travelled the oceans but now chooses to live alone in rural Aberdeenshire, in a home that gives the film its title. It is also, less obviously, a record of the friendship between he and Rivers, a filmmaker who knows that many other worlds can be discovered within this one, far from the madding crowd. Quietly, beguilingly, he shows that solitude is not synonymous with loneliness, and that to the curious gaze the stuff of daily life is alive with memory, magic and dreams.” –Erika Balsom, VIENNALE “Fiercely self-sufficient, Williams has spent decades creating his own private world, one characterized by ritualized labor, the rhythm of the seasons, and his own priorities regarding how to spend his time. In some respects, Williams is an avatar for Rivers’s own filmmaking. Shooting in 16mm, hand-processing his footage, and editing it himself, Rivers is one in a long line of experimental filmmakers who abjure the industrial model in favor of artisanal image and sound creation. Both Rivers and Williams are committed to existence on their own terms, sharing the results with all and sundry.” –Michael Sicinski, IN REVIEW ONLINE “[By] celebrating a way of being stripped down to the bare necessities, Rivers is also celebrating a more elemental approach to cinema, fiercely impervious to the demands of traditional storytelling and wholly open to the kind of wonders that would normally go unseen. With its capacity to wring bliss and beauty out of the most mundane routines, the film approximates something close to what Herzog once called ‘ecstatic truth’ – that mysterious, elusive type of truth that can only be reached through imagination. By the time *BOGANCLOCH* wraps…this tiny corner of the Highlands has become an immense expanse, this shaggy-haired loner a king of infinite space.” –Leonardo Goi, THE FILM STAGE Ben Rivers will be here in person for selected screenings! Distributed by The Cinema Guild. *SATURDAY, OCTOBER 4, 2025* Venue type: *Live, physical event* Other Cinema <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=15ee2d9d9b&e=857b71a9cb> 8pm PT, ATA Gallery, 992 Valencia (@ 21st), San Francisco, CA *DRUNKEN FILM FEST* KNIGHT: MANN'S SPARKS + MASH-UPS Now in its eighth edition, Oakland's Drunken Film Fest remains committed to bringing the year's most creative shorts, too often excluded by traditional industry-centered festivals, to where people are--in bars. Nested in a cozy alt-space with our own modest canteen, OC is honored to host this year's opening event, a “special” West Bay pop-up promising a sumptuous spread of four resonant remixes of contemporary film, TV, and internet material...alternatively cool, clever, and critical. The centerpiece is Ryland Knight's 50-min. homage to the luscious imagery of feature auteur Michael Mann (ten of his titles sampled, from *Thief* to *Blackhat*), whose big-budget scenes are here married to the hypnotic dream-pop of Beach House's *Depression Cherry*–each track of the album supporting a pastiche from another of the ten Mann productions. The opening set is a witty threesome of rather different, “collage-y” pieces: Drew Durepos' evil-bird bricolage *Animal Trials*, Jordan Wong's *Mountain Lodge*--a send-up of inane online commodity fetishism, and Neozoon's *A* *Little Lower than the Angels*--a comic cut-up skewering religious propaganda. DFF director Arlin Golden is here in person to introduce the artist behind our evening's anchor--Knight (Cherokee) is an East Bay writer/director and 2024 Sundance Native Lab Fellow. *SUNDAY, OCTOBER 5, 2025* Venue type: *Live, physical event* Los Angeles Filmforum <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=456ba12596&e=857b71a9cb> 19:30 (PST), 2220 Beverly Blvd., Los Angeles CA *In Another Light: Cinema of Memory: A 10 Year Celebration of Home Movies* To mark its 10th anniversary, the Al Larvick Conservation Fund presents In Another Light: Cinema of Memory, a screening series that celebrates the artistry and cultural significance of home movies. These rarely seen amateur films have been given new life through digitization grants from the Fund, and further transformed through curation, editing, and original scores, revealing how personal archives can illuminate shared histories. Program 1: Artistic Impulses (42 min) While home movies traditionally capture domestic life, many makers used their cameras to tell stories, explore culture, and share visions with audiences beyond family. This program highlights inventive approaches to documentaing and performance. Curated by Kirsten Larvick & Kelly Burton. Edited by Kimberly Brown. Original Musical Score by Gene Pritsker *Recovering Puerto Rican & American Narratives* (c. 1980s/1990s, Hi8, color, sound, 3:40 min. Collection holder: Keyvan Heydari) *Camp Charles H. Grimm & Traffic Safety Parades* (1950–1964, 8mm film, color, silent, 1:48 min.. Collection holder: Charles Grimm) *Dwight Core Collection* (c. 1950s, 4:32 min, 16mm, b&w, silent, 4:32 min. Collection holder: George Ingmire) *Missouri Fiddlin’: The Anthony Collins Collection* (1970s/1980s, U-Matic, b&w, sound, 4:49 min. Collection holder: Anthony Collins) *President John F. Kennedy and Senator Robert Kennedy Home Movies* (c. 1959–1968, 8mm, color, silent, 3:00 min. Collection holder: Ron Merk) *Domarecki-Boskind Family Baltimore Historical Films* (1940s, 16mm, color, silent, 2:02 min.. Collection holder: Brian Boskind) *Casper J. Renner Home Movies & Community History Collection* (mid-20th century, 18mm, color, silent, 1:21 min. Collection holder: Carol Renner) *Dalles and Susan Schneider Family Films* (1970s–1980s, Super 8, color, silent, 2:06 min. Collection holder: Dalles Schneider) *The Films of Arthur H. Virtue* (c. 1930s, 16mm, b&w, silent, 2:17 min. Collection holder: Virginia Errechetti) *Mario Perez Video Collection* (1996–2009, 3Hi8 & MiniDV, color, sound, 3:39 min.. Collection holder: Mario Perez) *James Kilgore Film Collection* (c.1980s, 8mm, color, sound, 2:14 min. Collection holder: Nashville Metro Archives) *H.E. Englert Family Home Movies* (c.1940s, 8mm, color, silent, 1:44 min.. Collection holder: Darlene Englert Talbott) *Barbara’s Little House of Flowers* (1950s–1970s, Super 8, color/b&w, silent, 3:41 min. Collection holder: Emma Kemp) *Barbara Joan Reisner* (1932–2020) filmed home life in Los Angeles, California, family, friends, and travels across the U.S. and Europe with curiosity and creativity. *Larry Buttwinick Film Collection* (c. 1965–1975, Super 8, color, silent, 4:21 min.. Collection holder: GLBT Historical Society) Program 2: Outside In: Home Movies from Immigrant & Queer Communities (67 min) Curated and edited by Jim Hubbard, this program interweaves three collections reflecting migration, identity, and activism. *The Immigrant Experience, Part I – From Assimilation to Tourism* (1968–1986, 8mm, VHS, color, silent/sound, 8 min.) *The Immigrant Experience, Part II – Community and Family* (1996–2009, Video8, MiniDV, color, sound, 11 min.) *Pride and Activism, Part III* (1979–2009, 8mm & 16mm, b&w/color, silent, 37 min.) To watch trailers from previous Al Larvick Fund screening programs, visit our Vimeo page at: https://vimeo.com/allarvickfund *TUESDAY, OCTOBER 7, 2025* Venue type: *Virtual, online event* VISIONS <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=3cace59077&e=857b71a9cb> 6pm & 8pm ET, la lumière collective, 7080 Rue Alexandra #506, Montréal, QC H2S 3J5 *LORI GOLDSTON* “Sound, Light, Movement: Solo Cello + Handmade Film” is a touring program of live improvised music with short experimental films made on celluloid. The program is available on a variety of digital formats. Total running time is about 70 minutes. 6 p.m. — SILENT PROJECTION: Sound, Light, Movement 8 p.m. – SOUND PERFORMANCE BY LORI GOLDSTON: Sound, Light, Movement *Stan's Salon* John Behrens | 1997 | 16mm to digital | 3 mins *Liquid is Light* Kalpana Subramanian | 2016 | Super 8 to digital | 4 mins *Late December, East of the Sierras* Bill Basquin | 2015 | 16mm to digital | 21 mins *Shedding* Vicky Smith | 2024 | 16mm to digital | 4 mins *Herbaria x Pelicula: Field Portfolio* Derek Jenkins | 2021 | 16mm to digital | 11 mins *Tobacco Barn Light Studies* Rocío Mesa | 2019 | 16mm to digital | 2 mins *Monosabishi* Wenhua Shi | 2023 | 16mm dual projection to digital | 4 mins *Bosco* Lucie Leszes + Stefano Canapa | 2023 | 16mm to digital | 8 mins *And By the Night* Anna Kipervaser | 2017 | 16mm to digital | 10 mins *Puedo Ver Todos Menos Mis Ojos/I Can See Everything But My Eyes* Leandro Varela | 2019 | Super 8 to digital | 2 mins *___________________________________________________________________* Venue type: *Live, physical event* Ad Hoc <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=b7434916d6&e=857b71a9cb> 19:00 (EST), Innis College, 2 Sussex Ave, room 222, Toronto, ON, Canada *AD HOC #80 SEEING, BASICALLY: NEW AND OLD FILMS BY BARBARA STERNBERG* With the Filmmaker, in person! Toronto filmmaker Barbara Sternberg has been making films since the mid-seventies. Her films have been screened widely across Canada as well as internationally at the Pompidou Centre in Paris, Kino Arsenal in Berlin, The Museum of Modern Art and Millennium Workshop in New York, and the Ontario Cinematheque, Toronto. Her work is in the collection of the Art Gallery of Ontario and the National Gallery of Canada. She has been a visiting artist at a number of Canadian universities and galleries including the University of Guelph, Nova Scotia College of Art and Design, Dunlop Art Gallery, as well as the Universite d'Avignon, and the School of the Art Institute of Chicago. In 2011, Sternberg was made a Laureate of the Governor General’s Award in Visual and Media Arts. *Elemental Vision, or, a film for the rest of my life* (2024, 30 minutes, 16mm) *Beating* (1995, 64 minutes, 16mm) Sternberg’s film work combines reflections on the medium itself with social issues and universal questions of how we experience reality, how we as humans are situated in the world. Films are themselves experiences, realities. Her films work at the intersection of film and life- questions of vision, perception, motion and temporality. Although her main practice is film, Sternberg has worked in other media including performance, installation & video. Sternberg has been active in a number of fronts in Toronto, teaching at York University, working for Canadian Filmmakers' Distribution Centre, serving on Toronto and Ontario Arts Council juries and committees, helping to organize the International Experimental Film Congress (May 1989), and was a founding member of Pleasure Dome, artists' film and video exhibition group. She wrote a handbook and conducted workshops on Media Literacy for high school teachers. She recently organized the "Association for Film Art" (AFFA) to actively support and promote awareness and appreciation of film art. While living in the Maritimes, Sternberg co-founded Struts, an artist-run centre in Sackville, New Brunswick. Sternberg wrote a column, "On (experimental) Film" for several years for Cinema Canada, and has written essays on artists and on filmmakers. As well, she has written on the status of film art in galleries and museums—an issue on which she has conducted symposia and lobbied vigorously. AD HOC aims to rethink what an experience of cinema can be. We seek to reposition historical landmarks and buried treasures within the on-going tradition of experimental and other non- commercial modes of filmmaking, drawing on work from Toronto, throughout Canada, and internationally. Within these parameters, we aspire to diversity in programming, as well as to multimedia and interdisciplinary screening events that bring together varied communities. AD HOC = Stephen Broomer, Madi Piller, Jim Shedden, Bart Testa. *WEDNESDAY, OCTOBER 8, 2025* Venue type: *Virtual, online event* VISIONS <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=77eaf82e1c&e=857b71a9cb> 7pm & 8:30pm ET, la lumière collective, 7080 Rue Alexandra #506, Montréal, QC H2S 3J5 *JEAN-JACQUES MARTINOD* Jean-Jacques Martinod is an Ecuadorian filmmaker, media artist, film curator, abysmal researcher, and clandestine anarchivist. PROGRAM 1: 7PM ET *BEFORE THE DELUGE* | Jean-Jacques Martinod | 2020 | S16mm & Hi-8 to HD | 40 mins PROGRAM 2: 8:30PM ET: Carnival at the Edge of the Abyss *FLOWERS* | Jose Cardoso | 2024 | digital | 30 mins *RADIO JAMMER* | Jacob Kessler | 2024 | digital | 20 mins *REMOTE VIEWS* | Alexis McCrimmon | 2025 | digital | 15 mins *BELOW AND TO THE LEFT* | Martin Baus | 2025 | digital | 14 mins *THURSDAY, OCTOBER 9, 2025* *October 9 - 12* Venue type: *Live, physical event* Chicago Film Society <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=0de7e509cd&e=857b71a9cb> various times (CT) & locations, see below Chicago, IL *Celluloid Now* The Chicago Film Society is proud to present a third edition of Celluloid Now: four days of screenings, workshops, expanded cinema performances, and other events showcasing the recent work of analog filmmakers and artists, alongside archival rediscoveries and restorations. --- October 9: Program 1: Light & Noise, 8:00 PM, Constellation Chicago --- This program begins with its namesake film, the last completed by the dearly missed Tomonari Nishikawa. Its title, Light, Noise, Smoke, and Light, Noise, Smoke, elegantly describes the forms each of the film’s Super 16 image takes as it moves through the projector. First: the light which projects towards the screen as the film runs through the projector gate. Second: the noise which the projector’s sound reader translates from the variance in opacity between bursts of sparks and the night’s sky. Third: smoke, open to interpretation but ideally not something related to the projector. Since time immemorial, small gauge film artists like those in this program have made do with a paucity of resources by finding novel, unexpected, and exciting ways to work with film stock, cameras, and projectors. In this program, you’ll find a poetic interpolation of the instructions printed on the side of a darkroom thermometer, a somnambulist tour through the modern inferno of digital screen life in sumptuous 16mm, two brand new 16mm preservation prints of work by Chicago experimental filmmaker and postal worker JoAnn Elam, and a multi-projector performance by arc, catching a wave on the visible spectrum. *A Country Mile and [Garden & Joe] were preserved by Chicago Film Archives, thanks to an Avant-Garde Masters Grant from the National Film Preservation Foundation and The Film Foundation.* *Light, Noise, Smoke, and Light, Noise, Smoke* (Tomonari Nishikawa, 2023, 6 min.) - 16mm *Estuary* (Ross Meckfessel, 2021, 12 min.) - 16mm *Skeyesee* (Jimmy Schaus, 2024, 3 min.) - 16mm *Cycladic Thermometer *(Kate Dollenmayer, 2017/2023, 8 min.) - 16mm *Genesis 38:14-15* (Ayanna Dozier, 2025, 5 min.) - 16mm *Doing It For Daddy *(Ayanna Dozier, 2025, 3 min.) - 16mm *Marooned* (Ben Kappitt, 2024, 3 min.) - Super 8 *the circle game* (Blanca García & James Devine, 2025, 3 min.) - Super 8 *A Home of Clouds and Trees no. 2 (Returning Cloud)* (Michael Metzger, 2025, 3 min.) - Super 8 *A Country Mile* (JoAnn Elam, circa 1973, 3 min.) - 16mm *[Garden & Joe]* (JoAnn Elam, circa 1980, 3 min.) - 16mm *Holographic Will* (Mike Stoltz, 2023, 6 min.) - 16mm *INCHOATRACIES OR EVERYTHING IS AS IT GOES IN ANTEROGRADE* (Zack Parrinella, 2024, 2 min.) - 16mm *infinite column *(arc, 2022–2025, 12 min.) - artist-operated 2x16mm Total: 90 min. + intermission --- October 10: Program 2: Notes & Threads, 6:00 PM, Gene Siskel Film Center --- Film has proven such a remarkably durable medium for artists that in recent years it’s started to feel like “film is dead” is finally becoming a minority opinion again. We’ve only been able to get to this point through the efforts of artists who have demonstrated analog cinema’s viability by continuing to make work on film, and the growing network of analog exhibitors and community-driven skill sharing initiatives that have supported them. While the films in this program take a diverse set of artistic approaches, all of the artists behind them share a stubborn unwillingness to just let film go. Cherlyn Hsing-Hsin Liu’s SEA 404 is perhaps the grainiest film we’ve ever seen, a shimmering procession of greyscale abstractions, with a howler of a punchline for the medium specificists. Known for his bombastic approach to found footage filmmaking, Peter Tscherkassky reengineers scraps of vintage pornography into a visceral, psychosexual nightmare mosaic in The Exquisite Corpus. One of two films in this program made by a filmmaker in their 70s, Saul Levine’s On Another Note is a pleasantly nagging, amicably confusing late entry in his career-long practice of scribing personal notes in celluloid. The other featured septuagenarian here is Rose Lowder with Jardin du sel, a technical one-off that counts as Lowder’s only film to date shot on reversal stock, as well as one of the very last films shot on commercially processed Kodachrome. *SEA 404 *(Cherlyn Hsing-Hsin Liu, 2019, 3 min.) - 16mm *RUN! *(Malic Amalya, 2019, 10 min.) - 16mm *On Another Note* (Saul Levine, 2019, 5 min.) - 16mm *Jardin du sel* (Rose Lowder, 2011, 16 min.) - 16mm *Obey Your Air Raid Warden* (Robert Davis & Harry Hilfinger, 1942, 3 min.) - 16mm *La Grande Dame (étude)* (Alexandre Larose, 2005/2011, 3 min.) - 35mm *Thread *(Abigail Smith, 2023, 2 min.) - 35mm *June* (Leopoldo Bloom, 2012, 6 min.) - 35mm *The Exquisite Corpus* (Peter Tscherkassky, 2015, 19 min.) - 35mm Total: 90 min --- October 11: Program 3: To the Lamphouse: Light & Lenses for Projection Explained, 12PM, Chicago Film Society Office --- Free admission with RSVP <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=cbd9bb948e&e=857b71a9cb>; space is limited. The following works will screen in tandem with an interactive workshop on projector light sources, lenses, and optics: *Castle One *(1966, Malcolm Le Grice, 18 min.) — 16mm w/ light bulb *Anna* (2024–2025, Chae Yu, 15 min.) — artist-operated 16mm Runtime: Approx. 90 minutes --- October 11: Program 4: Revolvey & Bullwinkle, 6:00 PM, Gene Siskel Film Center --- While a significant number of the screenings we’ve presented across the three Celluloid Now editions to date have not followed a specific theme, throughlines often assert themselves, connecting films made under totally different circumstances with totally different aims. For the films in this program, the bonding agent is a unique, spectral strangeness tethered to the acts of shooting and projecting film. In a series of lengthy, observational takes, Ayanna Dozier’s Nightwalker distills its titular occupation to the very act in its name, constantly moving with its main character as she hustles ever-forward through the night. Adam Paradis’s Damage Control slices, dices, scrambles, and repeats a ten second sequence originally used in the hit animated television program Rocky and His Friends, transforming moose and squirrel alike into flicker film icons. Perhaps the most perverted object in all of Celluloid Now this year, Christine Lucy Latimer’s Assets flagrantly discards celluloid’s indexicality in favor of a kitschy simulation, a visual stack of hundreds of chintzy, digital “film” filters placed on top of one another, which Latimer prints to 16mm Ektachrome reversal stock and processes herself in a triumphant moment of reification for film. Beginning with a slow, gliding shot across a field, Johann Lurf and Christina Jauernik’s Revolving Rounds travels forward with steady purpose, moving through strange agricultural spaces, observing strange projection equipment, taking a few metaphysical twists and turns, and getting enmeshed in what appears to be the silver halides in the universe’s film emulsion. *Assets *(Christine Lucy Latimer, 2025, 2 min.) - 16mm *Nightwalker* (Ayanna Dozier, 2022, 7 min.) - 16mm *Limited Sight Distance* (Curt Heiner, 2016, 5 min.) - 16mm *Damage Control* (Bullwinkle film) (Adam Paradis, 2010, 4 min.) - 16mm *Flowers for an Old Shrine* (Long Pham, 2025, 6 min.) - 16mm *The Last Train* (Dianna Barrie & Richard Tuohy, 2016, 12 min.) - 16mm *Zero Length Spring *(Ross Meckfessel, 2021, 16 min.) - 16mm *Revolving Rounds* (Johann Lurf & Christina Jauernik, 2024, 11 min.) - 35mm Total: 90 min --- October 12: Program 5: Celluloid City Seoul, 2:30 PM, Gene Siskel Film Center --- For most of the commercial film industry, the “digital transition” was treated as a foregone conclusion. This trajectory hasn’t been quite so clean when it comes to independent film artists. The 21st century has witnessed the rise of small, cooperatively run film labs, and dedicated showcases for working artists still exhibiting on film (like Celluloid Now). Korean artists have been making experimental films since at least the 1960s, but for the last twenty years especially, Seoul has been home to one of the most exciting analog filmmaking scenes in the entire world. The Experimental Film & Video Festival in Seoul (widely known as EXiS) was founded in 2004, significantly expanding exhibition opportunities for artists in the city and bringing their work into conversation with the greater international film community. The same year, filmmaker Jangwook Lee opened Space Cell, a site initially designed to accommodate experimental filmmaking workshops and related screenings, which expanded in 2006 to include an artist-run film lab. These developments have been transformative for film in Seoul, providing the spaces necessary for a community to form around analog filmmaking and facilitating access to the resources necessary for artists to learn, exercise, and share related technical skills. This program brings together a sampler of 16mm films by Korean filmmakers made across this still-young century, illustrating how each wave of young artists in this scene has benefitted from the work of their analog predecessors, and subsequently built upon this foundation for the benefit of the next generation. This isn’t to say this is a homogenous group of artists. Each of these six filmmakers has developed a unique sensibility, spanning structuralist one-liners, austere narrative tableaus, and several different and distinct flavors of visual abstraction. Considered individually, every filmmaker here is an immense talent in their own right. Taken collectively, they’re even better. *1998* (Sungsuk Suk, 2002, 5 min.) - 16mm *The Dark Room* (Minyong Jang, 2001, 5 min.) - 16mm *The Breath *(Minyong Jang, 2007, 10 min.) - 16mm *Tide* (Jang Eunju, 2007, 8 min.) - 16mm *Footage* (Minjung Kim, 2015, 3 min.) - 16mm *(100ft)* (Minjung Kim, 2016, 3 min.) - 16mm *Count Footage* (Minjung Kim, 2016, 3 min.) - 16mm *Study for Three Streams (silent version) *(Park Kyujae, 2024, 5 min.) - 16mm *Chang Gyeong* (Jangwook Lee, 2024, 17 min.) - 16mm Total: 60 min --- October 12: Program 6: Celluloid City Chicaho, 5:00 PM, Gene Siskel Film Center --- Since the first Celluloid Now in 2022, we’ve seen an explosion of activity around analog cinema among young filmmakers. While it has been heartening to see new artists embrace film on an international scale, we’re especially excited that in recent years, Chicago has quietly fostered a sizable and immensely talented pool of analog filmmakers. For this edition of Celluloid Now, we’re closing with a selection of works made by filmmakers we’re claiming for the city of Chicago, all of whom are under 40 years of age. Some filmmakers featured here will be screening their work publicly on film for the very first time. Others have already built impressive analog corpuses and screened in multiple Celluloid Now programs. (Chicago Film Society has also hosted recent “Celluloid Now Presents” solo programs for Kioto Aoki and Sara Sowell.) The artists in this program come from a diverse set of backgrounds and artistic traditions, and the array of technical and creative approaches they take speaks to just how flexible the medium of film is. As evidenced by Julian Antos’s GD2, photochemical A-and-B-roll traditionalism is still very much alive, but the recent popularity of affordable “direct positive” digital-to-film printing has made possible work like josh brainin’s Shed, which condenses an unnerving accretion of selfies, surgery photos, and phone conversations into a dissonant soup of abstract analog and digital textures. Eschewing commercial labwork altogether, Tristen Ives opted to process the exhibition print for cloud film themself, a decision which contributes significantly to the film’s unique look. Other films here feature DIY computer graphics, optically printed effects work, and simultaneous 16mm and 35mm projection. These examples only hint at the litany of creative approaches taken by the artists in this program, whose collective work has made Chicago our favorite city for film in the entire world. *Mounds Above the Earth* (Jiayi Chen, 2025, 7 min.) - 16mm/35mm *Green Today [fragment] *(Cameron Worden, 2025, 3 min.) - 35mm *Shed* (josh brainin, 2024, 7 min.) - 35mm *Olympic Order* (Kioto Aoki, 2025, 15 min.) - 16mm *Camera Roll 3 (2018-2022)* (Charles Cadkin, 2023, 3 min.) - 16mm *Color Negative* (Sara Sowell, 2023, 6 min.) - 16mm *Paloniya *(Ashley Dequilla, 2024, 3 min.) - 16mm *Guarita *(Lua Borges, 2025, 3 min.) - 16mm *Home without organs* (Yao Song & Zihan Mo, 2025, 2 min.) - 16mm *cloud film *(Tristen Ives, 2024, 11 min.) - 16mm *GD2 *(Julian Antos, 2021, 11 min.) - 16mm *Giddy Up Cowboy* (Justin Dean, 2024, 2 min.) - 16mm Total: 90 min *FRIDAY, OCTOBER 10, 2025* *October 10 - 12* Venue type: *Live, physical event* Anthology Film Archives <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=2a7c477dbb&e=857b71a9cb> nightly @ 6:45 PM + 8:45 PM ET, 32 Second Avenue, New York, NY *QUICK BILLY* by Bruce Baillie, 1970, 56 min, 16mm. Preserved by Anthology Film Archives Anthology recently became the repository and rights-holder for the moving-image work of Bruce Baillie, whose body of work represents one of the towering achievements of postwar American experimental cinema. Over the course of the last few years, we’ve been gradually preserving and striking new prints of his films, including classics (and crucial parts of Anthology’s Essential Cinema cycle) such as *CASTRO STREET* (1966) and *ALL MY LIFE* (1966). Now we’ve created new prints of Baillie’s magnum opus, the four-reel masterpiece QUICK BILLY (1970), in which Baillie synthesized his previous work to conjure up a breathtakingly ambitious, visually exquisite meditation on the cycle of life. Purporting, for its first three reels, to represent anadaptation of the Tibetan Book of the Dead, *QUICK BILLY* embodies Baillie’s unsurpassed camera eye, his mastery of editing and superimposition, his profoundly philosophical sensibility, as well as his mischievous sense of humor and bold sense of play. The latter qualities manifest most dramatically in the fourth and final reel, which – in a dramatic stylistic about-face – morphs into a kind of Beat parody of a melodramatic silent-era Western. While Anthology has shown *QUICK BILLY* annually as part of the Essential Cinema since time immemorial, our existing prints had become worn and faded. Restored now to its full glory, *QUICK BILLY* has never looked better! To celebrate, we’ll be presenting the film over the course of a long weekend accompanied by the six uncut “Rolls” – also newly restored – that Baillie distributed alongside the feature. “The essential experience of transformation between Life and Death, death and birth, or rebirth in four reels…” –Bruce Baillie “One of the masterpieces of the American avant-garde…a rare ‘synoptic’ film that tries to construct an entire cosmos. [It] immerses viewers in a timeless flow of indistinct forms that nearly obliterates self and place – the clarity of an erotic encounter ends when the woman leans forward into darkness. The finale is a parody western in which Baillie satirizes the aggression therest of his film abjures.” –Fred Camper, CHICAGO READER “Baillie identifies all forms of the Self with the cinema. *QUICK BILLY*’s first two reels present a first-person cinema (offering a document of a delirious consciousness becoming adapted to the actual world), Reel Three offers a second-person cinema (with Baillie looking at a family album and observing pictures of himself as though they were of another with whom he has an intimate relation), and Reel Four offers a third-person narrative. Through this taxonomic organization, Baillie suggests that cinema evolved out of consciousness and over time assumed forms increasingly distant from the deep Self. In presenting these cinematic modes in reverse chronology, Baillie suggests that the cinema’s original and true nature is as a document of consciousness.” –Bruce Elder, LA FURIA UMANA Followed by: Bruce Baillie *QUICK BILLY: SIX ROLLS (Numbers 14, 41, 43, 46, 47, and 52)* 1968-69, 16 min, 16mm, silent. Preserved by Anthology Film Archives “The ‘rolls’ took the form of a correspondence, or theater, between their author and Stan Brakhage, in the winter of 1968-69. They’re kind of the magic cousins of the film.” –Bruce Baillie Total running time: ca. 75 min *___________________________________________________________________* Venue type: *Live, physical event* The Metropolitan Museum of Art <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=68a81c433e&e=857b71a9cb> 6pm ET, 1000 Fifth Ave, New York, NY *Long Films for Long Nights: The Curse of The Cat People* Join us for a screening and discussion of *The Curse of the Cat People*, produced by horror film pioneer Val Lewton. A wishing ring, a ghost, the Legend of Sleepy Hollow, and an Eastern European dynasty of shape shifters feature in this 1944 psychological thriller set in a haunted house. Lewton—who also produced the first film in the series, *Cat People* (1942), directed by Jacques Tourneur—incorporated elements of his own childhood into the narrative. Introduction: Alexander Nemerov, Carl and Marilynn Thoma Provostial Professor in the Arts and Humanities, Stanford University, and author of Icons of Grief: Val Lewton's Home Front Pictures (2005) *The Curse of the Cat People*, 1944, dir. Robert Wise and Gunther von Fritsch, black and white, sound (70 minutes, English), 35mm Post-Screening Discussion: Alexander Nemerov; Stephanie Wuertz, editor and producer, The Met; Moderated by Neil Cox, Head of the Leonard A. Lauder Research Center for Modern Art, The Met; Organized by the Leonard A. Lauder Research Center for Modern Art. Free with Museum admission, though advance registration is recommended. *Note*: Space is limited; first come, first served. Priority will be given to those who register *___________________________________________________________________* Venue type: *Live, physical event* Shapeshifters Cinema <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=621d44fc7f&e=857b71a9cb> 7pm PST, 567 5th St, Oakland, CA *99 Hooker presents Incredibly Strange Music + Britney Buddha* Selected from Other Cinema's legendary underground vault of media ephemera, *Incredibly Strange Music* is a program of zany, delightful, and downright thought-provoking short music films (or "soundies") curated and compiled by Craig Baldwin & 99 Hooker. From the weird and dark to the radiantly quirky, these 16mm films constitute a material history for music lovers and "media archeologists" everywhere. Following this tantalizing teaser, 99 Hooker will perform a live "autopsy" of the sounds + images exhumed and aggregated from the body of work created by pop princess and cultural icon Britney Spears to round out this entertaining, avant-pop extravaganza that will leave you with a really weird medley of ear (and eye) worms going back almost a century! *SATURDAY, OCTOBER 11, 2025* Venue type: *Live, physical event* Other Cinema <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=4bb7a209cd&e=857b71a9cb> 8pm PT, ATA Gallery, 992 Valencia (@ 21st), San Francisco, CA *OPTRONICA* 99 HOOKER + ELLINGSON + LIGHTS OUT + Our semi-annual Live A/V eye-and-ear-popper unveils an all-star line-up of seven inter-media magicians, interlaced amongst an equal number of single-channel shorts. Headlining is the much-loved visual poet 99 Hooker, a sho' nuff mad genius on a mission to unleash his beatnik-in-a-box-of-bits-and-bytes *Moloch Scat Chant*. Local light Josh Ellingson displays analog video of “Pepper's Ghost” illusions--floating figures that re-animate Sid Davis' retro “educational” *oeuvre. *Donovan (Lights Out) Drummond makes the/a scene as a direct liquid-lightshow descendant of the Belson/Abrams arc, complete with color wheels, clock faces, and the artful aid of Madam Varga and Lx Rudis' amazing audio FX. PLUS OC fave Thorsten Fleisch's *Astrogolem*, speculating on Tesla, Turing, and interdimensional demons, Francois Miron's optically-printed hallucination *Quest*, Moog Music's synth history *Back to the Future Sounds*, Kara Blake's wowzer on *Dr. Who* sound-designer Delia Derbyshire, and Russ Forster on the street and in the house with his *Theremin Plays Theremin*. Tallboy Tim Johnson trundles in his '87 Atari rig for its so-called *Psychedelia*, as if our venerable Dream Machine weren't enough! *SUNDAY, OCTOBER 12, 2025* Venue type: *Live, physical event* Los Angeles Filmforum <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=112e555afe&e=857b71a9cb> 19:30 (PST), 2220 Beverly Blvd., Los Angeles, CA *Santiago Torres* The films of Santiago Torres observe the urban harmony inherent in the chaos, while also engaging the painful sprawl embedded within its cacophony. His films are an inventory of various sociological-ecological investigations into loneliness, isolation, the way we remember and see the world around us, and how media and cinema find their way as interventions into our consciousness and reality. Please join us for the World Premieres of *Sobre el amor y la soledad* & *Hiroshima Peace Memorial Park*, and the US Premiere of *Habitantes*, *Of Time and Memory*, and *Embodied Knowledge* - and in welcoming Santiago Torres from Mexico with his films from 2008-2022. *Habitantes*, 2008, 16mm to digital, color, sound, 11.5 minutes. US Premiere! *Mundo Flotante*, 2008, S16mm to digital, color, sound, 16 minutes. US premiere! *Of Time and Memory*, 2012, S16mm to digital, color, sound, 23 minutes. US premiere! *Uyway (The Seed)* Co-directed with Gabriel Herrera, 2016, HD, color, sound, 14.5 minutes *Comipems 2017 Atención Aspirantes con Discapacidad Sub*, 2017, HD, color, sound, 12 minutes *Sobre el amor y la soledad*, 2019, HD, color, sound, 3 minutes. World Premiere! *Hiroshima Peace Memorial Park*, 2020, HD, color, sound, 10 minutes. World premiere! *Embodied Knowledge*, 2022, HD, color, sound, 4 minutes. US premiere *ONGOING* Venue type: *Virtual, online event* Riverwest Radio <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=975f8247a5&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=f3894000a4&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=e245729f05&e=857b71a9cb> . 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> . ------------------------------ This Week in Avant Garde Cinema newsletter made possible with support from <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=0da724e5bc&e=857b71a9cb> *Copyright © 2020 Flicker, All rights reserved.* Longtime recipient of This Week in Avant Garde Cinema This Week in Avant Garde Cinema · everywhere · Cincinnati, OH + Ann Arbor, MI · USA
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