View this email in your browser <https://mailchi.mp/e2a3ca6ed625/this-week-in-avant-garde-cinema-11043442?e=857b71a9cb>
*This Week [February 7 - 15, 2026] 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 <http://www.hi-beam.net/cgi-bin/ann.pl?submission=enternew> **** ___________________________________________________________________________________ *sorted by submission deadline* 02.09.2026 Cauldron International Film and Video Festival <https://us.list-manage.com/VzbKq4V_vsf?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> (Extended Deadline) 02.13.2026 Maryland Film Festival <https://us.list-manage.com/po_lWrbpoWs?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> (Extended Deadline) 02.20.2026 Coney Island Film Festival <https://us.list-manage.com/ABbhgkj6n_U?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> (Final Deadline) 02.20.2026 Edinburgh Short Film Festival <https://us.list-manage.com/MXZYfpm7Gze?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> (Early Deadline) 02.21.2026 Moviate Underground Film Festival <https://us.list-manage.com/7GHpfKClKvS?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> (Early Deadline) 02.24.2026 Fugue State <https://us.list-manage.com/SUMlowxC7Jm?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> (Early Deadline) 02.28.2026 Crossroads <https://us.list-manage.com/SA2vvPa-FAs?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> (Late Deadline) 02.28.2026 Laterale Film Festival <https://us.list-manage.com/MEqIgGgsudz?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> (Fifth Deadline) 03.01.2026 VIDEOEX Experimental Film & Video Festival Zurich <https://us.list-manage.com/Twxg4DtDb74?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> 03.20.2026 Experimental Film and Video Festival in Seoul (EXiS) <https://us.list-manage.com/ffxcaFYeFYJ?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> 03.22.2026 Winnipeg Underground Film Festival <https://us.list-manage.com/ZZValGPOGft?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> 03.25.2026 Chicago Underground Film Festival <https://us.list-manage.com/YfEZNbKr7iG?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> (Regular Deadline) 03.23.2026 Oak Cliff Film Festival <https://us.list-manage.com/rHV9eRLwMhU?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> (Regular Deadline) 03.31.2026 Fracto Experimental Film Encounter <https://us.list-manage.com/ha2Twab1nRO?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> 05.01.2026 Media City Film Festival <https://us.list-manage.com/JzI01Xp4zwb?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> 05.15.2026 Lausanne Underground Film & Music Festival <https://us.list-manage.com/nqmyVhG8_H8?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> 05.31.2026 ICS Grants <https://us.list-manage.com/xKG3jCjWmc8?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> 06.01.2026 Engauge Experimental Film Festival <https://us.list-manage.com/HeDWhCBDlU_?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> *EVENTS* **** Enter your event announcements here <http://www.hi-beam.net/cgi-bin/ann.pl?submission=enternew> **** ___________________________________________________________________________________ *complicated sorting but a true attempt, enjoy!* This week's programs (summary): - Look What I Found! Found Footage Film & Video 1936-2026 <https://us.list-manage.com/2yZs9LBHQzW?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> [January 17 - February 7, Brooklyn, NY] - Robert Beavers: Filmmaker In Residence <https://us.list-manage.com/mg_B70lFjjy?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> [January 30 - February 7, Berkeley, CA] - Peer Bode: Signal Into Memory <https://us.list-manage.com/jKsMwBcDUR2?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> [February 6 - June 6, Rochester, NY] - Nathaniel Dorsky – Meditative Masterworks <https://us.list-manage.com/s0paoat4RZE?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> [February 7, Charlotte, NC] - ICS Presents: Imago Dei—Four By Will Hindle <https://us.list-manage.com/zf5OszbBtst?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> [February 7, Seattle, WA] - Filmforum 50, Pgm 8: Step Across The Border, Fred Frith In Person <https://us.list-manage.com/dZ-_3VqMUw7?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> [February 8, Los Angeles, CA] - Two Evenings With Robert Beavers <https://us.list-manage.com/I0UBLXDBayg?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> [February 11 - 12, Vancouver, BC, Canada] - Let's Watch: Films By Samantha Rebello <https://us.list-manage.com/-4BobNWebWi?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> [February 14, Leicester, England, UK] - Valentine Treats <http://www.othercinema.com/> [February 14, San Francisco, CA] - Filmforum 50, Program 9: An Evening With Morgan Fisher <https://us.list-manage.com/aRaiy0IL81l?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> [February 15, Los Angeles, CA] - Jerome Hiler + Nathaniel Dorsky <https://us.list-manage.com/OrWsnZOBjYN?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> [February 15, New York, NY] - GPO Program <https://us.list-manage.com/zmmTNc7oJXE?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> [February 15, New York, NY] - Illuminated Hours <https://us.list-manage.com/_ACJfIcG5HB?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> [February 15, Portland, OR] - The Long Conversation <https://us.list-manage.com/fRixUQtnELX?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> [ongoing, online] - 6x6 Project: Artists' Moving Image Works <https://us.list-manage.com/jZ3pHEBcERt?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> [ongoing, online] *STARTING BEFORE SATURDAY, FEBRUARY 7, 2026* *January 17 - February 7* Venue type: *Live, physical event* Millennium Film Workshop <https://us.list-manage.com/jPISn9wfIlt?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> 7:00 PM, 167 Wilson Avenue *Look What I Found! Found Footage Film & Video 1936-2026* As we sail into 2026, Millennium is proud to announce our first exhibition of the new year, *Look What I Found! Found Footage Film & Video 1936-2026* a 90 year survey of re-appropriated media. The found footage film is generally regarded as being culled into existence through Joseph Cornell’s revolutionary fever dream Rose Hobart in 1936. In the time since then, film and video artists have utilized the techniques of appropriation, collage, montage and displacement to force new meaning into various media created with no such intention in mind. Works otherwise kitschy, anodyne, objective and industrial become in the hands of artists surreal, political, humorous and powerful. This transformation is a testament to the alchemical potential of moving image art, where the simple act of montage becomes a mystical synthesis, generating a whole greater than the sum of its parts. In found footage one finds the purest illustration of that magical mathematic formula of cinema, 1+1=3. The exhibition will begin on Friday, January 16th, with a 16mm Found Footage Workshop at 7:00 PM. Participants will be invited to use our Steenbeck editing table and and splicers to create new found footage film from pieces of old nature films, industrials and educational reels from Millennium’s archive. This film, once completed, will be then included as a looping installation for the rest of the duration of the exhibition, opening the following night. To register for the workshop, please email [email protected]. Saturday, January 17th @ 7pm is the Exhibition Opening, also featuring installation work from Mike Videopunk, Tessa Hughes-Freeland and Joe Wakeman. That same night at 8:00 PM we will screen contemporary found footage video works by the likes of Robert Mizaki, Nunet Clitandre, Venatapes, Preston Spurlock, Animal Charm, and Gloria Chung. --- Installation --- *Richard Spencer Getting Punched In The Face For An Hour *Mike Videopunk VHS 60min *The Urge To Collage *Joe Wakeman VR Video 2 min *Play Boy *Tessa Hughes-Freeland Super8mm to Video, Pepper’s Ghost Viewing Booth 10 min *Looping 16mm Found Footage Installation *created by Jan 16 Workshop Participants --- Screening --- *Cosmic Crossroads* Robert Mizaki 18 min *Gentle Voices* Nunet Clitandre 9 min *Dwight* Venatapes 30 min *Obscene Numerals *Preston Spurlock 17 min *Videoworks Vol. 1* Animal Charm 19 min *TBA* Gloria Chung This program is curated by Executive Director Joe Wakeman and Preston Spurlock for Millennium Film Workshop. Special Thanks to The Film-makers’ Cooperative, Video Databank, and MM Serra. Saturday, January 24th @ 7pm will be the second screening, featuring all archival 16mm prints of found footage films from the Film-makers’ Cooperative, including films by Stan Brakhage, Ken Jacobs, Chick Strand, MM Serra, Christoph Janetzko, Bill Morrison, an Unknown Filmmaker, Mary Fillipo, Bruce Conner, and of course, the film that started it all, Joseph Cornell’s Rose Hobart. *Murder Psalm - *Stan Brakhage 17 min *Perfect Film* - Ken Jacobs 22 min *S1* - Christoph Janetzko 16 min *The Film of Her* - Bill Morrisson 12 min *Cartoon Le Mousse* - Chick Strand 12 min *Peace O’Mind* - Mary Fillippo 9 min *Come Dance With Me* - Unknown Filmmaker 6 min *Mongoloid* - Bruce Conner 3 min *Rose Hobart *- Joseph Cornell 19 min *Just For You Girls* - MM Serra 2 min TRT 96 min This program is curated by Executive Director Joe Wakeman and Preston Spurlock for Millennium Film Workshop. Special Thanks to The Film-makers’ Cooperative, Video Databank, and MM Serra. ___________________________________________________________________ *January 30 - February 7* Venue type: *Live, physical event* Pacific Film Archive <https://us.list-manage.com/E-IwbiWJ1FR?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> times vary, see below, BAMPFA, 2155 Center Street, Berkeley, CA *Robert Beavers: Filmmaker in Residence* Filmmaker in attendance This career retrospective, combined with a filmmaker residency, offers Bay Area audiences a chance to see American avant-garde filmmaker Robert Beavers’s highly rewarding body of work and engage with him as an artist. His films are exceptional for their visual beauty, aural texture, and depth of emotional expression. Born in 1949 in Brookline, Massachusetts, Beavers began to make films in the mid-1960s in New York City. By the end of that decade, he had relocated to Europe with fellow American filmmaker Gregory J. Markopoulos, who would be his lifelong companion until Markopoulos’s death in 1992. The majority of Beavers’s films were shot in the 1970s and 1980s in Italy, Switzerland, Germany, and Greece. Between 1994 and 2002, the artist involved himself in reediting the images and creating new soundtracks for his eighteen-film cycle, *My Hand Outstretched to the Winged Distance and Sightless Measure*. Beavers’s films embody the ideals of the Renaissance in their fascination with perception, psychology, literature, the natural world, architectural space, musical phrasing, and aesthetic beauty. For many years now, Beavers has made Berlin his home with fellow filmmaker Ute Aurand. We will present seven films he has made since 2007, which continue his exploration of sense of place, reflection, and harmony. —Susan Oxtoby, Director of Film and Senior Film Curator --- Friday, Jan 30, 2026 @ 7PM PT - Robert Beavers: Program 1 --- The first four films in Robert Beavers’s extraordinary cycle encompass elements of self-portraiture, eroticism, and charged allusion, including *Early Monthly Segments* and *Winged Dialogue*, filmed when Beavers was eighteen and nineteen years old, which depict the filmmaker and his companion Gregory J. Markopoulos. *Early Monthly Segments* (Switzerland/Germany/Greece; 1968–70/2002); 35mm, color, silent, 33 minutes. Print from the maker. *Winged Dialogue* (Greece; 1967/2000); 16mm, color, sound, 3 minutes, Print form the maker. *Plan of Brussels* (Belgium; 1968/2000); 16mm, color, sound, 18 minutes. Print from the maker. *The Count of Days* (Switzerland; 1969/2001); 16mm, color, sound, 18 minutes, Print form the maker. TRT: 75 minutes --- Saturday, January 31 @ 2PM PT - Robert Beavers: Program 2 --- Three films from Robert Beavers’s eighteen-film cycle, originally filmed in 1970 and remastered in 2001. *Palinode* (Switzerland; 1970/2001); 16mm, color, sound. 21 minutes. Print from the maker. *Diminished Frame* (Germany; 1970/2001) 16mm, b&w/color, sound, 24 minutes. Print from the maker. *Still Light* (Greece; 1970/2001); 16mm, color, sound, 25 minutes. Print from the maker. TRT: 70 minutes --- Saturday, January 31 @ 4:30PM PT - Robert Beavers: Program 3 --- In these two nuanced and structurally self-reflexive works, *From the Notebook of ...* and *The Painting*, Robert Beavers contemplates the world around him and reflects on the nature and processes of art. *From the Notebook of…* (Italy; 1971/98); 35mm, color, sound, 48 minutes. Print from the maker. *The Painting* (Switzerland/US; 1972/99); 35mm, color, sound, 13 minutes. Print from the BAMPFA Collection. TRT: 61 minutes --- Sunday, February 1 @ 3:30PM PT - Robert Beavers: Program 4 --- These three films from Robert Beavers’s film cycle create connections between varied times and places, and between old-world artisanal practices and the craft of filmmaking. *Work Done* (Italy/Switzerland; 1972/99); 35mm, color, sound, 22 minutes. Print from the BAMPFA Collection *Ruskin* (Italy/Switzerland/UK; 1975/97); 35mm, b&wcolor, sound, 45 minutes. Print form the maker. *AMOR* (Italy/Austria; 1980); 35mm, color, sound, 15 minutes Print from the BAMPFA Collection TRT: 82 minutes --- Thursday, February 5 @ 7PM PT - Robert Beavers: Program 5 --- *Sotiros* incorporates narrative film devices such as intertitle cards into a metaphorical dialogue between two male lovers. In *Efpsychi* we hear a word spoken, *teleftea*, meaning the last (one). *Wingseed* draws comparisons between the pastoral beauty of a Greek hillside and that of the male form. *Sotiros* (Greece/Austria/Switzerland; 1976–78/96); 35mm, color, sound, 25 minutes. Print from the maker. *Efpsychi* (Greece; 1983/96); 35mm, color, sound, 20 minutes. Print from the maker. *Wingseed* (Greece; 1985); 35mm, color, sound, 15 minutes. Print from the maker. TRT: 60 minutes --- Friday, February 6 @ 3:30PM PT - Mosse Lecture: Robert Beavers --- The Berlin-based filmmaker will present *Diminished Frame* and *The Sparrow Dream* and discuss the relationship of history, memory, and place in his films. *Diminished Frame* (Germany; 1970/2001); 16mm, color, sound, 24 minutes. Print from the maker. *The Sparrow Dream* (Germany/US); 16mm, color, sound, 29 minutes. Print from the maker. --- Friday, February 6 @ 7PM PT - Robert Beavers: Program 6 --- The final three works in Robert Beavers’s film cycle—*The Hedge Theater*, *The Stoas*, and *The Ground*—offer images of ineffable beauty, unspoken eloquence, and an expression of devotional love. *The Hedge Theater* (Italy; 1986–90/2002); 35mm, color, sound, 19 minutes. Print from the BAMPFA Collection. *The Stoas* (Greece; 1991–97); 35mm, color, sound, 22 minutes. Print from the BAMPFA Collection. *The Ground* (Greece; 1993–2001); 35mm, color, sound, 20 minutes. Print from the BAMPFA Collection. TRT: 61 mins --- Saturday, February 7 @ 7PM PT - Robert Beavers: Program 7 --- Robert Beavers’s seven works made after his film cycle demonstrate his continued interest in the poetic form and emotions linked to a sense of home or place, including his delicate portrait of his mother, *Pitcher of Colored Light*, and the graceful *The Suppliant*. *Pitcher of Colored Light* (US; 2000–07); 35mm, color, sound, 23 minutes. Print from the BAMPFA Collection. *The Suppliant* (US; 2010); 35mm, color, sound, 5 minutes. Print from the BAMPFA Collection. *Listening to the Space in My Room* (Switzerland; 2013); 16mm, color, sound, 19 minutes. Print from the maker. *Among the Eucalyptuses* (Greece; 2017); 16mm, color, silent, 4 minutes. Print from the maker. *“Der Klang, die Welt…”* (Switzerland; 2018); 16mm, color, sound, 5 minutes. Print from the maker. *The Sparrow Dream* ( Germany/US; 2022; 16mm, color, sound, 29 minutes. Print from the maker. *Dedication: Bernice Hodges* (US; 2024); 16mm, color, sound, 4 minutes. Print from the maker. TRT: 89 minutes Copresented by the Department of German, with support from the Mosse Foundation. Promotional partners: Townsend Center for the Humanities at UC Berkeley; San Francisco Cinematheque; Shapeshifters; and Light Field. Thank you to Deniz Göktürk, Department of German, UC Berkeley; Jonathan Marlow, SV Archive; Glenn Fox, Seattle; Mark Johnson, Harvard Film Archive; Steve Polta, San Francisco Cinematheque; Kathleen Quillian, Shapeshifters; and Light Field. ___________________________________________________________________ *February 6 - June 6* Venue type: *Live, physical event* Visual Studies Workshop <https://us.list-manage.com/UZ7Rk3Xg2VM?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> Wed–Fri: 11am – 6pm ET, Sat: 12 – 4pm ET, VSW 36 King Street, Rochester, New York 14608 *Peer Bode: Signal into Memory* Opening Reception: Friday, February 6, 6-9pm ET Curator Talk: Saturday, May 30, 2-3pm ET Closing Party: June 5, 6-9pm ET In a career spanning over five decades, video artist Peer Bode has created an extensive body of work that investigates electronic media events, active perception systems and the cultural impact of media tools and technologies. His earliest works were made at the Experimental Television Center, where he worked with video processing tools and innovative engineers to expand upon the possibilities of the emerging field of video. This exhibition will feature an extended selection of Bode’s “Process Tapes”, many of which were recorded as real time events at the Experimental Television Center between 1975-83. *Signal into Memory* traces the origins of Bode’s inquiry into the electronic signal as both a source and a substance in the video field, decoding the nature of video art and its ongoing impact as an interactive social system. *Signal into Memory* includes projections and installations of recently digitized videotapes from the artist’s archive which have never been shown publicly, as well as prints that reflect his work with video in material form. Throughout the exhibition there will be a series of events featuring video artists and toolmakers as part of the VSW Salon. *Signal into Memory* is curated by Tara Nelson and Nilson Carroll of Visual Studies Workshop, where Bode’s tapes have been preserved. Video artist Peer Bode (pronounced “Pear BOHdah”) has been working with video, performance, sound and multiple forms of printed media for over five decades. Bode is a graduate of Binghamton University’s Cinema Department, and has studied with Larry Gottheim, Nicholas Ray, Ken Jacobs and Peter Kubelka, and later with Woody and Steina Vasulka, Paul Sharits, Tony Conrad and Hollis Frampton at SUNY Buffalo’s Media Study Program. Bode worked at the Experimental Television Center (ETC), which his lifelong mentor and friend Ralph Hocking established in Binghamton in 1969. At the ETC, Bode made his foundational early works while assisting and collaborating with the video artist and engineer David Jones, whose “Jones Frame Buffer” became a signature processor within Bode’s oeuvre. *SATURDAY, FEBRUARY 7, 2026* Venue type: *Live, physical event* Goodyear Arts <https://us.list-manage.com/ABK3919MqiD?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> 7:30pm ET, Goodyear Arts, 301 Camp Rd #200 Charlotte, NC 28206 *Nathaniel Dorsky – Meditative Masterworks* Wavelengths experimental film series returns with a unique screening: Nathaniel Dorsky’s luminous 16mm films which require a rare type of projector. These hypnotic short works offer an antidote to our stressful times. Projected at a slowed-down speed, Dorsky’s films are meditations on unlikely spaces, weather and sky, and the shifting qualities of light. 40 minute program. “Dorsky’s films reveal the mystery behind everyday existence, providing intimations of eternity.“ – San Francisco Cinematheque ___________________________________________________________________ Venue type: *Live, physical event* Northwest Film Forum <https://us.list-manage.com/709nMdDsao0?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> 7pm PT, Northwest Film Forum, 1515 12th Ave. Seattle, WA 98122 *ICS Presents: Imago Dei—Four by Will Hindle* (Will Hindle, 1963-1971, United States, 57 min, in English) *FFFTCM* (1967) Renewed income and the ability to work on one’s own produced this feeling and work. A Promethean awakening, de-bonding of the human spirit … reaching for the unfiltered blaze of Light and Life. The driving sounds of heart beat, fanfare for the Common Man and devotional chants. A time of sharing … a touch of vision in the night. *LATER THAT SAME NIGHT* (1971) Hindle’s first all-southern-made work, filmed shortly after moving his studio from San Francisco to the lower Appalachians. Jackie Dicie sings the song in disruptive out-of-synchronization. It is Hindle’s first-water attempt to express the southern country mode of existence … the alone woman and the lonesome land. *NON CATHOLICAM* (1963) Another granddaddy of the American Personal Film movement. Set to the music of Hindemith, filmed entirely in a Gothic cathedral and edited to precision counter-point. An almost somber beginning that rises to brilliant exaltation. As with *PASTORALE*, extremely innovative for its day and even now. Entire film was an “optical print” to retain light nuances. Has never been placed in competition. *WATERSMITH* (1969) Perhaps Hindle’s magnum opus to date. New York Times critic Vincent Canby calls *WATERSMITH* “beautiful abstract patterns of lines of energy. A kind of ode to physical grace.” A deceptively “calm” film requiring an equally calm audience and a superior soundtrack reproduction system, *WATERSMITH* weaves its lone visual threads closer and closer until the screen is awash with multiple levels of artistic achievement, technical supremacy, physical and mental demands and rewards … for the relaxed and receptive viewer. Not a flash and funk work. A film to be seen again and again. Program curated by Patrick DiCero. Synopses courtesy of Canyon Cinema. *SUNDAY, FEBRUARY 8, 2026* Venue type: LA Filmforum <https://us.list-manage.com/3SPeaofx5PK?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> 1pm PT, 2220 Arts + Archives, 2220 Beverly Blvd., Los Angeles, CA 90057 *Filmforum 50, pgm 8: Step Across the Border, Fred Frith in person* Los Angeles Filmforum and Black Editions present Filmforum 50, program 8: Step Across the Border Fred Frith in person! Restoration sneak preview Back in the mid-1990s, Filmforum presented two beautiful music films by the duo of Nicolas Humbert and Werner Penzel, Step Across the Border and Middle of the Moment. These two films remain in the memory long after viewing, with their unique approaches, captivating performances and adventures, humor, and remarkable visuals. We’re delighted to present a sneak preview of the restoration of Step Across the Border, which follows the musician Fred Frith in a variety of deeply absorbing interactions with other musicians and artists. Filmed from 1987 to 1990 in rich black & white film, it is a fantastic portrait of the extended improvised art music world of the time, with other musicians such as Joey Baron, Ciro Battista, Arto Lindsay, René Lussier, Haco, Kevin Norton, Bob Ostertag, Zeena Parkins, Lawrence Wright, and John Zorn, and that world’s intersections with artists working in other forms. The film is an inspiring look at the life of a working musician of the time, with Frith, around the age of forty in the years of filming, already internationally renowned as a musician seeking creativity where possible. We have the unique opportunity to talk with him reflecting on the film and the thirty-five years that have passed. Multi-instrumentalist, composer, and improviser Fred Frith has been making noise of one kind or another for more than 50 years, starting with the rock collective Henry Cow, which he co-founded with Tim Hodgkinson in 1968. Frith is best known as a pioneering electric guitarist and improviser, song-writer, and composer for film, dance and theater. Through bands like Art Bears, Massacre, Skeleton Crew, the Fred Frith Guitar Quartet, Cosa Brava, and the FF Trio he has stayed close to his roots in rock and folk music while branching out in many other directions. Shelley Burgon is a harpist, composer and sound installation artist who creates ambient and abstract music using graphic notation, indeterminacy, electronics and sound sculptures. She studied extensively with Oliveros at Mills College where she received an MFA in Electronic Music. Burgon’s chamber music has been recorded by the Ne(x)tworks ensemble featuring the vocalist Joan LaBarbara. Her most recent work *The In Between* for solo harp was released by Thin Wrist Recordings in July 2025. Shelley’s music has been commissioned for film, chamber ensembles and choreographers, most notably by The Merce Cunningham Dance Company for their Hudson Valley Project at the Dia Beacon. As an ensemble member, Burgon is sought after for her vast experience as an interpreter of new-music and the classical avant-garde performing the works of Pauline Oliveros, John Cage, Butch Morris, Morton Subotnick, Cornelius Cardew and most recently performing with the Long Beach Opera and Wild Up. She has performed at institutions such as the Whitney Museum, MoMA, Walt Disney Concert Hall and Lincoln Center and has recorded harp for various artists ranging from Bjork to Anthony Braxton. She has recently released a duo record with the guitarist Fred Frith. *Step Across the Border*, A ninety-minute celluloid improvisation, 1990, 35mm transferred to digital, b&w, sound, 90 min, Sneak preview of new restoration! Note that Fred Frith and Sheeley Burgon will be in performance at 2220 Arts + Archives on February 7th, the night before this screening. https://dice.fm/event/k6n39p-fred-frith-shelley-burgon-modern-current-7th-feb-2220-arts-archives-los-angeles-tickets *WEDNESDAY, FEBRUARY 11, 2026* *February 11 - 12* Venue type: *Live, physical event* The Cinematheque <https://us.list-manage.com/oF7aOusNqAg?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> times vary, see below, 1131 Howe St, Vancouver, BC, Canada *Two Evenings with Robert Beavers* In Person: Robert Beavers This first-ever Vancouver presentation of Beavers’s films includes selections from My Hand Outstretched as well as his peripatetic recent works, some of them elegies for friends, others an outflowing of his current partnership with the filmmaker Ute Aurand. Beavers will be present at each screening to discuss his work. --- Feb 11 @ 6:30pm PT - Program One --- “*Early Monthly Segments* [holds] the key to Beavers’s astounding achievement … Impeccably structural, his art is nonetheless suffused with a romantic passion that includes the man, the camera, and the world’s unending beauties—natural, built, and artistic.” –Roberta Smith, The New York Times In the autumn of 1965, a teenaged Robert Beavers wrote to Gregory Markopoulos: “I am interested in your opinion of what a ‘filmmaker’s education’ should consist of.” Markopoulos’s reply, one unenamoured with the New York institutional landscape, included a question (“Should he leave the country or remain?”) and a promise that this vocation would require something he had also yet to find: “a haven” apart from influences where, as the writer Nikos Kazantzakis put it, one might “open a road that may entice the future and force it to make up its mind.” The two artists left for Europe together, and *Early Monthly Segments* would become the evidence of this new direction. Beavers’s editing captures the bold, playful energy of someone essaying an entire catalogue of available colours, camera movements, and poses to frame both Markopoulos and himself. This pursuit of male and pastoral beauty is differently patterned in *Still Light* and *Wingseed*. *Early Monthly Segments *Greece/Germany/Switzerland 1968–70, 2002, Robert Beavers, 33 min. 16mm *Still Light *Greece/United Kingdom 1970, 2001, Robert Beavers, 25 min. 16mm *Wingseed *Greece 1985, Robert Beavers, 15 min. 35mm “A filmmaker in absolute command … *Still Light* paves the way, league after league, towards a language I would like to call a language of diamonds.” –Gregory Markopoulos --- Feb 11 @ 8:30pm PT - Program Two --- “A masterpiece … Elegant, beautiful, complex, and austere … A film about the transformation of life into art and the loveliness of Florentine sunlight flooding through a window.” –Manohla Dargis, The New York Times, on From the Notebook of… Where *Early Monthly Segments* is a cascading mixture of techniques, Robert Beavers’s *From the Notebook of…* is an exactly measured, separated, and classified system. In a Florentine apartment, Beavers trains the piercing concentration of his 16mm camera on the basic ingredients of a solitary day—the self, the pen, the empty page, and an open window—to which he adds, as if in a laboratory’s controlled environment, sequenced images, sounds, and camera movements. Not least of these is the whipping vertical motion of his camera’s turret turn, which accompanies the passage of flying birds, the descent of his pen, the formal posture of Beavers himself, and the angled view of the apartment, suspended above the street scenes below. The approach, at once a form of study and demonstration, treats time and presence in a manner both nakedly unadorned and complexly elaborated. In *AMOR*, Beavers stitches fabric and forking garden paths together via a forceful, enigmatic figuration. *From the Notebook of… *Italy 1971, 1998, Robert Beavers, 48 min. 35mm *AMOR *Italy/Austria 1980, Robert Beavers, 15 min. 35mm “Gloriously shot and edited … Perhaps Robert Beavers’s most masterful work of structural harmony, binary oppositions, and self-reflexive form.” –Susan Oxtoby, TIFF 2000, on *From the Notebook of...* --- Feb 12 @ 6:30pm PT - Program Three --- “*The Ground* is not to be missed … [The film] makes a parallel between filmmaking and stone cutting: both depend not only on chiselling pieces so that they fit together, but also in leaving space enough for something to enter or take flight.” –Amy Taubin, Village Voice These final works in Robert Beavers’s defining film cycle *My Hand Outstretched to the Winged Distance* and *Sightless Measure* present something both tactile and elusive. Each studies and compares images of stone-based architecture—whether scaled to immensity or human height—with an awareness of the way their geometry and fixity lend themselves as containers for organic growth. All of them represent Beavers at his most dramatically motivated, as he combines the rich sensations of the external world—hard percussive sound and soft blanketing light—with the striking gestures of his structuring presence. As his overarching title suggests, the use of one’s hands is a generative, self-reflexive act for a filmmaker, and not just metaphor alone. The cycle’s culmination, *The Ground*, Beavers’s first film after the death of Gregory Markopoulos, offers an emotional and physical evocation of hollowness, in all its exposed pain and open potential. *The Hedge Theater *Italy 1986–90, 2002, Robert Beavers, 19 min. 35mm *The Stoas *Greece 1991–97, Robert Beavers, 22 min. 35mm *The Ground *Greece 1993–2001, Robert Beavers, 20 min. 35mm --- Feb 12 @ 8:15pm PT - Program Four --- “Forgoes the geometric severity characteristic of works like his masterly as poetic *From the Notebook of…* without any loss of precision, and generates a subsumed aura of rapture nearly as potent as his sublime city/nature diptych *The Stoas*.” –Nathan Lee, Village Voice, on Pitcher of Colored Light Robert Beavers’s most recent work shows further transformations in his practice. The films are still devoted to charting intimate specificities of places and phenomena by cutting different proportions of subject, light, time, and movement against one another, but he has moved into a more reflective register. Each film deliberately revisits significant relationships. *Pitcher of Colored Light* is filmed at his mother’s house; *The Suppliant *at the apartment of his late friend Jacques Dehornois; *“Der Klang, die Welt…”* captures the Zurich house of his landlady Cécile Staehlin before and after her husband Dieter, a cellist, passed away. *The Sparrow Dream* is perhaps Beavers’s grandest merging of distant locations and elements: childhood myth (via *The Odyssey*) and mature narration; smooth golden statues and timeworn hands; his Massachusetts hometown; and his current artistic residence in Berlin with the filmmaker Ute Aurand. Each shot refracts an immense scale of consistent attention. *Pitcher of Colored Light *USA 2000-07, Robert Beavers, 23 min. 16mm *The Suppliant *USA 2010, Robert Beavers, 5 min. 16mm *“Der Klang, die Welt…” *Switzerland 2018, Robert Beavers, 5 min. 16mm *The Sparrow Dream *Germany/USA 2022, Robert Beavers, 29 min. 16mm *SATURDAY, FEBRUARY 14, 2026* Venue type: *Live, physical event* St Nicholas Church <https://us.list-manage.com/Ko4Lu7xWPC7?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> 7pm GMT, St Nicholas Church, 156-140 St, Nicholas Walk, Leicester, England, UK LE1 4LB *Let's Watch: Films by Samantha Rebello* A programme of 16mm films Join us to consider the contingency of materiality with a programme of 16mm films by Samantha Rebello, projected by the artist, in Leicester's oldest church. “Exploring the radical otherness of things Samantha Rebello throws the strangeness and violence of being into relief.” — Mark Webber On February 14th, a programme of 16mm films by Samantha Rebello will be projected by the artist in a Saxon church in Leicester. This building, variously expanded and restored over the course of 1100 years, instantiates the contingency of materiality, which Rebello's films examine. https://www.eventbrite.co.uk/e/lets-watch-films-by-samantha-rebello-tickets-1977911637953 Please buy a ticket in advance if you possibly can, it will help ensure that this event and others like it is able to go ahead. Samantha Rebello works in painting, drawing, writing, film and sound, pursuing an interest in *substance* (the being of things) and the historical framing and reframing of the world, through language, image, object. ALL are welcome. Please check out our website for more information about our building, mission, and ethos. ___________________________________________________________________ Venue type: *Live, physical event* Other Cinema <http://www.othercinema.com/> 8pm PT, ATA Gallery, 992 Valencia (@ 21st), San Francisco, CA *VALENTINE TREATS* MIKE KUCHAR's *THE SECRET OF WENDEL SAMSON* + JACK SMITH's *NORMAL LOVE* Despite it all! Yes, in the very midst of our national horror-scape, OC has decided to open its doors, for its 40th season! And join up with good ol' cupid for a Valentines evening dedicated to the redemptive values of LOVE – both its erotic pleasures and its attendant psychological complexity/problems. In fact, we'll have a pair of legendary 60's rarities and arguably a veritable prince of Camp in the person of underground icon Mike Kuchar with his oh so prescient *Wendel Samson*! Pop Artist Red Grooms stars in this larger-than-life and oh-so-lurid melodrama that sees Grooms grappling with sexual identity issues in this low budget but wildly inventive mise-en-scenographyof this half-hour underground masterpiece, way ahead of its time! CO-BILLED is Jack Smith's very rarely screened *Normal Love* starring Mario Montez and a giggling gaggle of 1963 Downtown Manhattan queers, here set loose in the “Nature of a Connecticut Woodside”... to tease, cavort, and combine be-wigged bodies in every which way in a quite/rather long plot- and language-less parade of early gay gestural play. Smith's *Flaming Creatures* had provoked theater closures and court cases a year before, tho this ethical proto-Warholian pillow-party can be understood as another enactment of this visionary outsider aesthetic, formally marginalized but here unashamed and indeed celebratory despite its rock-bottom budget and production values. Free champagne. *SUNDAY, FEBRUARY 15, 2026* Venue type: *Live, physical event* LA Filmforum <https://us.list-manage.com/277Nw2BbVpC?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> 7:30pm PT, 2220 Arts + Archives. 2220 Beverly Blvd, Los Angeles, CA 90057 *Filmforum 50, program 9: An Evening with Morgan Fisher* A crucial participant and creator of experimental film in Los Angeles for close to sixty years, Morgan Fisher’s precise and beautiful films each address aspects of the processes of filmmaking with humor and conceptual rigor. As a member of the Los Angeles Independent Film Oasis (along with other key figures such as Pat and Beverly O’Neill, David and Diana Wilson, and Amy Halpern), he helped Los Angeles audiences have the opportunity to see essential films works in the late 1970s and early 1980s. His painting practice, which evolves from his same concerns with essential processes, color, and elements of personal history, has been featured in multiple exhibitions. Filmforum last hosted a one-person program with Fisher in 2004, and we’re delighted to honor him with some of the highlights of his cinematic oeuvre as part of our 50th anniversary celebration. “Focusing with rare intensity and insight upon the construction (and deconstruction) of cinematic illusionism, Fisher’s earliest films, such as *The Director and His Actor Look at Footage Showing Preparations for an Unmade Film (2)* and *Production Stills*, revealed the careful self-reflexivity and theoretical sophistication that have remained important trademarks of his work. Fisher’s late masterpieces *Standard Gauge* and *( )* have added another dimension to his meta-cinematic concerns, channeling Fisher’s ardent love, and deep knowledge, of cinema into a heartfelt, and at times distinctly melancholy, searching for the essence of film. Fisher’s late films offer a radical, “termite” history of the cinema from within the machine, a recovery and even an ontology, of precisely those film techniques and technologies that are typically overlooked and, paradoxically, designed to be invisible- the insert, film gauges, and the motion picture camera itself…”Haden Guest, Harvard Film Archive, https://harvardfilmarchive.org/programs/morgan-fisher-presents “In a way, Morgan Fisher (Washington DC, 1942) is the missing link between that Hollywood idea of films and experimental cinema, thanks to a series of works that intelligently break down the conventions of industrial cinema with humor, in a line of conceptual thought that smacks of avant-garde. Most of Fisher’s films are true meta-cinema, films that say “You’re watching a movie,” and the movie you’re watching is about making a movie that has been emptied of any content other than just that. Fisher’s films have been called “structural cinema” due to their material approach to cinema, but the truth is that this idea is not entirely correct, since his interest is directed more towards conventional procedures, which in the years when he began working in the late sixties inevitably involved working with celluloid, projectors, synchronization methods, cameras and other paraphernalia (which, curiously, all continues to graphically represent cinema). Each film is a carefully thought-out system, where the ultimate decisions are taken by industrial standards: the duration of the film reels, the apparatus most often used, the regulated procedures, and the predetermined categories. Fisher, who is also a painter and adapts this way of doing things to painting, has expressed his closeness to Duchamp and the ready-made, and in a certain way what he does in his cinema is to place that industrially manufactured object in front of our eyes so that what is important in the work is not the work itself but the gesture it proclaims.’ Elena Duque, https://s8cinema.com/en/2024/05/20/morgan-fisher-2-en/ *Projection Instructions* 1976, 16mm, b&w, sound, 4 min. Print courtesy of the Academy Film Archive. Performed by Mark Toscano *The Director and His Actor Look at Footage Showing Preparations for an Unmade Film (2)* 1968, USA, 16mm, b/w, sound, 15 min. Print courtesy of the Morgan Fisher Collection at the Academy Film Archive *Production Stills* 1970, 16mm, color, sound, 11 min. Print courtesy of the Morgan Fisher Collection at the Academy Film Archive *Standard Gauge* 1984, 16mm, color, sound, 35 min. Print courtesy of the Morgan Fisher Collection at the Academy Film Archive *( )* Aka *Inserts* 2003, 16mm, color & b&w, silent, 21 min. Print courtesy of the Morgan Fisher Collection at the Academy Film Archive ___________________________________________________________________ Venue type: *Live, physical event* Anthology Film Archives <https://us.list-manage.com/uwZzU8mfS-1?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> 4:15pm ET, 32 Second Avenue, New York, NY *JEROME HILER + NATHANIEL DORSKY* This program pairs Jerome Hiler and Nathaniel Dorsky’s recently rediscovered and digitized sponsored film *LIBRARY* (1970), which was commissioned by New Jersey’s Sussex County Area Reference Library, with Hiler’s later sponsored film, *SEASONS OF A MOUNTAIN VINEYARD* (2003), a lyrical chronicle of the painstaking, delicate process of winemaking. Jerome Hiler & Nathaniel Dorsky *LIBRARY* 1970, 18 min, 16mm-to-DCP. New digitization by the Harvard Film Archive. Narrated by Beverly Grant; score by Tony Conrad. “[In 1970 Hiler and Dorsky] collaborated on an unexpected and little-known work, an industrial film commissioned by New Jersey’s Sussex County Area Reference Library, whose local branch Dorsky and Hiler frequented first as patrons, then eventually as projectionists and programmers for the library’s 16mm screenings. […] A collaboration with their friends Tony Conrad and his wife, actress Beverly Grant, who contributed, respectively, its minimalist score and voiceover narration, *LIBRARY*…is a direct complement to both filmmakers’ contemporary diary films and an extension of their somewhat idealized vision of daily life in rural New Jersey. More importantly, the film gives revealing expression to the close correspondence uniting Dorsky and Hiler’s work, and their shared dedication to an ideal of art as a form of spiritual experience and devotion.” –Haden Guest, CINEMA SCOPE Jerome Hiler *SEASONS OF A MOUNTAIN VINEYARD* 2003, 30 min, 16mm-to-DCP “The seasons are of supreme importance to me, even in the Bay Area. With one exception, all my films follow a pattern of development from a stark ‘winter’ beginning to a rich, flowering or ‘summer’ conclusion. This is true even of the documentaries *MUSIC MAKES A CITY* and *SEASONS OF A MOUNTAIN VINEYARD*.” –Jerome Hiler, CINEMA SCOPE With: Alex Baker *LES VALSEUSES* (2025, 6 min, Super-8mm-to-digital) This short film by filmmaker, photographer, and writer Alex Baker provides a glimpse into the realm of Les Valseuses, a vineyard located near Arbois in the Jura, France. Helmed by Antoine and Julia, Les Valseuses produces natural wines that reflect their unique and lush region. Total running time: ca. 60 min ___________________________________________________________________ Venue type: *Live, physical event* Anthology Film Archives <https://us.list-manage.com/TBjVQ0DI_37?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> 8:30pm ET, 32 Second Avenue, New York, NY *GPO PROGRAM* Strange as it may seem, the British General Post Office (GPO) exerted a major impact on British documentary cinema of the 1930s-40s – and by extension on the history of non-fiction filmmaking itself. This was thanks to the formation and development of the GPO Film Unit, and in particular to the efforts of John Grierson, who would become one of the fathers of documentary film. During his years running the GPO Film Unit, Grierson transformed traditional notions of the practice of nonfiction filmmaking, bringing a new degree of social engagement and political expression, and establishing the GPO as a hotbed of talent and filmic innovation by hiring and encouraging artists such as Alberto Cavalcanti, Humphrey Jennings, Len Lye, Norman McLaren, Lotte Reiniger, and others. During its heyday, the GPO Film Unit created some of the most canonical documentary films of all time, including classics like *SONG OF CEYLON* (1934), *NIGHT MAIL* (1936), *SPARE TIME* (1939), and many others. This program showcases some of the more stylistically unconventional films produced by the Unit, above all the experimental or even abstract animations created by Lye, McLaren, and Reiniger (with the addition of McLaren’s later film made for Canada Post, following his emigration to North America). Alberto Cavalcanti *COAL FACE* (1935, 11 min, 35mm-to-DCP) Len Lye A *COLOUR BOX* (1935, 3 min, 35mm-to-DCP. Courtesy of the Len Lye Foundation and the British Postal Museum and Archive. Digital version from 35mm Eastmancolor restoration by the BFI National Archive and made available by Ngā Taonga Sound & Vision.) Len Lye *RAINBOW DANCE* (1936, 4 min, 35mm-to-DCP. Courtesy of the Len Lye Foundation and the British Postal Museum and Archive. Digital version from material preserved and made available by Ngā Taonga Sound & Vision.) Len Lye *TRADE TATTOO* (1937, 5 min, 35mm. Screening courtesy of the Len Lye Foundation and the British Postal Museum and Archive. Print courtesy of the Austrian Film Museum.) Len Lye *N OR NW* (1937, 7.5 min, 35mm-to-DCP. Courtesy of the Len Lye Foundation and the British Postal Museum and Archive. Digital version from material made available by Ngā Taonga Sound & Vision.) Lotte Reiniger *THE H.P.O.* (1938, 4 min, 35mm-to-DCP) Lotte Reiniger *THE TOCHER* (1938, 5 min, 35mm-to-DCP) Norman McLaren *LOVE ON THE WING* (1938, 4 min, 35mm-to-DCP) Norman McLaren *MAIL EARLY* (1941, 2 min, 35mm-to-DCP. Commissioned by the National Film Board of Canada as an advertisement for Canada Post.) Total running time: ca. 50 min ___________________________________________________________________ Venue type: *Live, physical event* Spectrum Between <https://us.list-manage.com/EDw1E-MKpxl?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> 6:30pm PT, 3520 SE Yamhill St, Portland, OR *Illuminated Hours* Spectrum Between and the Nyback Film Archive present 16mm films by Nathaniel Dorsky and Jerome Hiler at Sunnyside Community Center. Calling all romantics, stoners, and formalists! This screening showcases two legends of avant-garde cinema known for their meticulously constructed works of abstract beauty. Follow on Instagram at @spectrumbetween *Words Of Mercury* (2011), dir. Jerome Hiler, color, 25min, silent, 16mm, 18fps *In The Stone House* (2012), dir. Jerome Hiler, color, 35min, silent, 16mm, 18fps *Triste* (1996), dir. Nathaniel Dorsky, color, 18min, silent, 16mm, 18fps *Winter* (2008), dir. Nathaniel Dorsky, color, 21min, silent, 16mm, 18fps *ONGOING* Venue type: *Virtual, online event* Riverwest Radio <https://us.list-manage.com/mnm0qt5_7Zl?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> 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://us.list-manage.com/KiU2mfP2mcF?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> 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 <http://www.hi-beam.net/cgi-bin/thisweek.pl>. 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://us.list-manage.com/UiRvoVKwnqQ?e=857b71a9cb&c2id=0d67e0aba7fa6a8c62b4e960fe7a49fe> *Copyright © 2020 Flicker, All rights reserved.* Longtime recipient of This Week in Avant Garde Cinema This Week in Avant Garde Cinema · everywhere
-- Frameworks mailing list [email protected] https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org
