<http://www.hi-beam.net/now.gif> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=68902378ed&e=f36020cad0> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=3921bd6cb7&e=f36020cad0> This week [April 28 - May 6, 2018] in avant garde cinema Enter your event announcements by going to the Flicker Weekly Listing Form <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=3e19ca9dcc&e=f36020cad0> . To receive the weekly listing via email: Subscribe <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=a039aa778a&e=f36020cad0> . <https://scontent-dfw5-1.xx.fbcdn.net/v/t1.0-9/31056818_1672122306170363_6627041302577938432_n.jpg?_nc_cat=0&oh=b515e0574309d1888fc658379bc7c30b&oe=5B566B28> Mohaiemen's United Red Army <> [May 1, Austin, TX] NEW CALLS FOR ENTRIES: WNDX Festival of Moving Image (Winnipeg, Manitoba, Canada; Deadline: June 01, 2018) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=104c6f0a48&e=f36020cad0> &readfile=1977.ann Rencontres Internationales Sciences & Cinémas (RISC) (Marseille, France; Deadline: June 30, 2018) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=3d41642799&e=f36020cad0> &readfile=1978.ann DEADLINES APPROACHING: Haverhill Film Festival (Haverhill, MA, USA; Deadline: June 01, 2018) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=6d28328131&e=f36020cad0> &readfile=1951.ann Festival of (In)appropriation (Los Angeles, CA, USA; Deadline: May 01, 2018) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=6f37f408a2&e=f36020cad0> &readfile=1969.ann 25 FPS Festival (Zagreb, Croatia; Deadline: May 31, 2018) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=3758dd7e2b&e=f36020cad0> &readfile=1971.ann Compassion Film Festival (Carbondale, CO, USA; Deadline: May 17, 2018) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=29ea169276&e=f36020cad0> &readfile=1976.ann WNDX Festival of Moving Image (Winnipeg, Manitoba, Canada; Deadline: June 01, 2018) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=905c00e657&e=f36020cad0> &readfile=1977.ann Events are sorted alphabetically BY CITY within each DATE. This week's programs (summary): * Canyon Cinema 50: Program 2: Associations <> [April 28, New York, NY] * Canyon Cinema 50: Program 3: Decodings <> [April 28, New York, NY] * Scritti Politti:Mayday Media With J.Drew/Newsreel + J.Harper/Freak Tv + <> [April 28, San Francisco, California] * Harun Farocki: Program 4 <> [April 29, New York, NY] * Canyon Cinema 50: Program 4: Continuum <> [April 29, New York, NY] * Ec: Stan Brakhage Pgm 3 <> [April 30, New York, NY] * Ec: Stan Brakhage Pgm 4 <> [April 30, New York, NY] * Mohaiemen's United Red Army <> [May 1, Austin, TX] * The Absent Stone - Sandra Rozental In Person! <> [May 3, New York, NY] * The Absent Stone <> [May 3, New York, New York] * Tv Party Program <> [May 5, New York, NY] * Comedy of the Underground: Kuchars’ Fleshapoids Release + G.Vazquez + <> [May 5, San Francisco, California] SATURDAY, APRIL 28, 2018 4/28 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=fa861635c5&e=f36020cad0> 5:00 PM, 32 Second Avenue CANYON CINEMA 50: PROGRAM 2: ASSOCIATIONS Mark Toscano RELEASING HUMAN ENERGIES (2012, 5.5 min, 16mm. New print!) "A film about control. A refinement of energy for purposes of conserving resources, materials, impetus, potential, so they might all be narrowly channeled toward an unquestioned goal of maximum profit with minimum waste. Capitalism, in this example, as a process of understanding how to make use of someone as efficiently as possible to get the most out of them that is desired. Instructions for keeping people on task." -Mark Toscano Sara Kathryn Arledge WHAT IS A MAN? (1958, 10 min, 16mm) "WHAT IS A MAN? propels Sara Kathryn Arledge from the realm of formal experimentation to social satire. Made with a remarkably sharp wit and a trenchant, mocking view of gender conventions, Arledge gives us a work far ahead of its time. Begun in 1951, Arledge received the first Creative Film Foundation award (established by Maya Deren) for script development in 1956 and completed the film in 1958. It was not until Nelly Kaplan's also neglected feature A VERY CURIOUS GIRL (1969) that women's cinema would once again celebrate such a spirited, subversive artist." -Bill Nichols John Smith ASSOCIATIONS (1975, 7 min, 16mm) "Images from magazines and color supplements accompany a spoken text taken from 'Word Associations and Linguistic Theory' by Herbert H. Clark. By using the ambiguities inherent in the English language, ASSOCIATIONS sets language against itself. Image and word work together/against each other to destroy/create meaning." -John Smith Robert Nelson HOT LEATHERETTE (1967, 5 min, 16mm, b&w. New print, preserved by the Academy Film Archive!) "A kinetic film sketch designed to involve the viewers' muscles. The rocky seaside cliffs near Stinson Beach, California, hold the wrecked carcass of a #52 pickup that is a rusting monument to Hot Leatherette." -Robert Nelson Barbara Hammer DYKETACTICS (1974, 4 min, 16mm) "A popular lesbian 'commercial,' 110 images of sensual touching montages in A, B, C, D rolls of 'kinaesthetic' editing." -Barbara Hammer Stephanie Barber FLOWER, THE BOY, THE LIBRARIAN (1997, 5 min, 16mm) "It's a love story, with the usual dashing figures and old habits of spelling, repetition and listing." -Stephanie Barber Phil Solomon THE SNOWMAN (1995, 8 min, 16mm) "A meditation on memory, burial and decay - a belated kaddish for my father." -Phil Solomon Robert Breer SWISS ARMY KNIFE WITH RATS & PIGEONS (1981, 6.5 min, 16mm-to-35mm. Preserved by Anthology Film Archives with generous support from the Andy Warhol Foundation for the Visual Arts and the National Endowment for the Arts.) "…a typically bravura and delightful display of simple objective forms flashing, rotating, and dissolving into abstraction…" -J. Hoberman Curt McDowell CONFESSIONS (1971, 11 min, 16mm, b&w. New print, preserved by the Academy Film Archive!) As part of a "legendary body of work that is wildly life-affirming, bawdy, tender, often hilarious, sassy and frequently penetrating" (Mark Toscano), the nakedly personal CONFESSIONS, made while Curt McDowell (1945-87) was a graduate student in San Francisco, opens with the filmmaker looking into the camera while directly addressing his parents (who never did see the film) as he tenderly admits to childhood thefts and lies, drinking and taking drugs, and bluntly describes his varied sexual experiences. Thad Povey THINE INWARD-LOOKING EYES (1993, 2 min, 16mm) "To paraphrase something Lao Tzu didn't say: This film's an empty cup - You fill it up." -Thad Povey Abigail Child MERCY (1989, 10 min, 16mm) The final film in Abigail Child's seven-part series "Is This What You Were Born For?", Child has described MERCY as "dissecting the game mass media plays with our private perceptions." Child masterfully composes a rhythmic collage of symmetries and asymmetries in a fluid essay that forefronts the treatment of the body as a mechanized instrument - placing the body in relation to the man-made landscape of factories, amusement parks and urban office complexes. With vocals performed by Shelley Hirsch. Richard Myers AKBAR (1970, 16 min, 16mm. New print, preserved by the Academy Film Archive!) "A conversation with a friend - Ahmed Akbar. A short interview-type film portrait with Akbar, a black filmmaker and former student of mine at Kent State. Akbar expresses an unusual and exciting view of himself/blacks in America/and such varied subjects as 'this moon race shit!' A friendly, lively, exciting portrait of a very extraordinary person from Akron, Ohio." -Richard Myers Total running time: ca. 95 min. 4/28 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=74cae04504&e=f36020cad0> 7:30 PM, 32 Second Avenue CANYON CINEMA 50: PROGRAM 3: DECODINGS Lawrence Jordan DUO CONCERTANTES (1964, 9 min, 16mm, b&w) "Birds, butterflies, old engravings - the mind's moving fantasmagoria. A binder on the spell of the white witch." -Lawrence Jordan "Jordan's imagery is exquisite and eloquent, concentrating on simple, repeated use of particularly poetic symbols and figures, a conglomerative effect of old Gustave Doré drawings, 19th century whatnot memorabilia, all fused to a totally aware perception." -Lita Eliseu Will Hindle BILLABONG (1969, 9 min, 16mm) "A remarkably intimate and at times palpably erotic study of boys in a Job Corps camp on the Oregon coast, BILLABONG is a sensuously humanist encounter with alienated youth, told in the filmmaker's trademark undulating lap dissolves and scintillatingly grainy high contrasts. Loneliness and longing-for-elsewhere alternate with horseplay and horniness, and hijinks around urinals and pool tables culminate in an ecstatic moment of onanistic release." -Chuck Stephens Tom Palazzolo LOVE IT / LEAVE IT (1973, 15 min, 16mm. New print, preserved by Chicago Filmmakers with funding by the National Film Preservation Foundation!) "What you see is what you get, as heimlich and American as apple pie and neo-Nazis: fragments and fleeting glimpses of neighborhood gatherings and celebrations, ball games, Civil War re-enactments, wrestling matches, rock concerts, and the 1968 Democratic National Convention all join in LOVE IT / LEAVE IT's visual churn, while Ray Wilding White's musique concreÌ€te soundtrack loops and reloops the film's titular mantra - a dialectical cri de coeur in which the former proposition is clearly the salutary one: to leave America would be to miss the parades, this rich pageant of life, these boobs and their boobs." -Chuck Stephens Naomi Uman REMOVED (1999, 6 min, 16mm. New print!) "Using a piece of found European porn from the 1970s, nail polish and bleach, this film creates a new pornography, one in which the woman exists only as a hole, an empty, animated space." -Naomi Uman Cauleen Smith CHRONICLES OF A LYING SPIRIT (BY KELLY GABRON) (1992, 6.5 min, 16mm. New print, preserved by the Academy Film Archive!) "Less a depiction of 'reality' than an exploration of the implications of the mediation of Black history by film, television, magazines and newspapers. Using her alter ego, Kelly Gabron, Smith fabricates a personal history of her emergence as an artist from white-male-dominated American history (and American film history)." -Scott MacDonald Jodie Mack POINT DE GAZE (2012, 5 min, 16mm, silent) "Named after a type of Belgian lace, this fabric flicker film investigates intricate illusion and optical arrest." -Jodie Mack Mariah Garnett ENCOUNTERS I MAY OR MAY NOT HAVE HAD WITH PETER BERLIN (2014, 14 min, 16mm) ENCOUNTERS deals primarily with monumentality, narcissism and the ways in which our heroes are embedded into our identities, and manifested through the body. Through a variety of gestures, the pervasiveness of this practice is highlighted alongside its ultimate, inevitable failure. The viewer moves through various stages of anxiety, idolization and actual touchdown with 70s gay sex icon Peter Berlin himself, capturing both the apparent and the hidden. JoAnn Elam LIE BACK & ENJOY IT (1982, 8 min, 16mm, b&w) "An absorbing eight-minute dialectical film about the politics of representation. More specifically, it examines the politics of filmic representation of women under patriarchy. […] The film is endowed with remarkable structural and rhetorical lucidity." -Claudia Gorbman Michael Wallin DECODINGS (1988, 15 min, 16mm, b&w) "A profoundly moving, allegorical search for identity from the documents of collective memory, in this case, found footage from the 1940s and 50s. […] The search for self ends in aching poignancy with stills of a boy and his mother at the kitchen table, catching the moment that marks the dawning of anguish and loss; desire becomes imprinted on that which was long ago." -Manohla Dargis Total running time: ca. 95 min. 4/28 San Francisco, California: Other Cinema http://www.othercinema.com/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=26d73cb4dd&e=f36020cad0> 8 PM, 992 Valencia Street SCRITTI POLITTI:MAYDAY MEDIA WITH J.DREW/NEWSREEL + J.HARPER/FREAK TV + For our Maypole party, we’re sprouting radical cinema seeds planted by the heroic 16mm film collective Newsreel (50th anniversary!). Jesse Drew himself rolls in from Davis to intro these essential pieces from the 60s/70s, when the collective became the de facto chronicler of the revolutionary moment. He’ll highlight clips from the 1969 Amerika (street battles in the heart of the beast), and People’s War (shot in Vietnam), plus Off the Pig (on Black Panthers), SF State Strike, and Santiago Alvarez’ Cuban cornerstone Now! Carla Leshne shares an earlier history, that of the Workers’ Film and Photo League. ALSO: Our East Bay brother Joshua Harper (Berkeley Comm. Media) details a video history of the democratic urge within the TV medium–pirates, activists, artists, and nudists taking over the airwaves, from the first 60s experiments to the current cutting-edge of online transmission, including Portapacks, Public Access, Paper Tiger, micro-broadcasting, Youtube and the false promises of internet television. Come early for anti-Trump jams, and free bread, and red roses. SUNDAY, APRIL 29, 2018 4/29 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=e5d28c4d12&e=f36020cad0> 2:00 PM, 32 Second Avenue HARUN FAROCKI: PROGRAM 4 BEDTIME STORIES: RAILWAYS / EINSCHLAFGESCHICHTEN (1977, 3 min, 16mm-to-digital. In German with English subtitles.) IMAGES OF THE WORLD AND THE INSCRIPTION OF WAR / BILDER DER WELT UND INSCHRIFT DES KRIEGES (1988, 77 min, 16mm-to-digital. In German with English subtitles.) This film focuses on the 'blind spots' in the interpretation of aerial photographs taken during an American bombing raid in 1944 of an industrial plant in Germany. Only decades later, when the photos were analyzed by the CIA, was it realized that the Auschwitz concentration camps were also captured in these images. Farocki shows the links between war and photography, exploring how perception during times of conflict is conditioned by what people want or don't want to see, rendering observers as either passive accomplices or victims in times of war. 4/29 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=1ddc406ede&e=f36020cad0> 7:30 PM, 32 Second Avenue CANYON CINEMA 50: PROGRAM 4: CONTINUUM Bruce Baillie VALENTIN DE LAS SIERRAS (1968, 10 min, 16mm. New print!) "Song of revolutionary hero, Valentin, sung by Jose Santollo Nasido en Santa Cruz de la Soledad; Chapala, Jalisco, Mexico." -Bruce Baillie Gunvor Nelson MY NAME IS OONA (1969, 10 min, 16mm, b&w) "MY NAME IS OONA captures in haunting, intensely lyrical images fragments of the coming to consciousness of a child girl. A series of extremely brief flashes of her moving through night-lit space or woods in sensuous negative, separated by rapid fades into blackness, burst upon us like a fairy-tale princess, with a late sun only partially outlining her and the animal in silvery filigree against the encroaching darkness; one of the most perfect recent examples of poetic cinema. Throughout the entire film, the girl, compulsively and as if in awe, repeats her name, until it becomes a magic incantation of self-realization." -Amos Vogel Pat O'Neill DOWN WIND (1973, 15 min, 16mm) "A thoughtful treatment of some of the problems we (mankind) have been having in dealing with our fellow species, animal and vegetable. Actually an undercover 'structural' film, this one seems at first to be some sort of berserk travelogue. I spent years going to travelogues as a child, and still have a great fondness for visiting natural history museums in strange cities." -Pat O'Neill Janie Geiser TERRACE 49 (2004, 5 min, 16mm) "Images of impending disaster - slamming doors, a truck careening down a hill, and a frayed, almost snapping, elevator rope - collide with the repeated image of a woman's body, cycling toward ephemerality as the woman disappears into the texture of the film itself." -Janie Geiser Tomonari Nishikawa MARKET STREET (2005, 5 min, 16mm, b&w, silent. New print!) "As I am interested in the projection apparatus and human visual perception, I carefully juxtaposed images on Market Street by single-framing, in order to create certain happenings on the screen. By studying my super 8 films, SKETCH FILM #1 and SKETCH FILM #2, I made decisions for sequences of this film before working on this project. No re-photographing technique is involved. The result may look abstract, yet representative enough to show the characteristics of the street." -Tomonari Nishikawa Dominic Angerame CONTINUUM (1987, 17 min, 16mm, b&w, silent) "CONTINUUM, though a film only 15 minutes in length, is one of the more remarkable works within recent cinematic history. In it, the world, the workers within the world, and the labor of making the film itself are equated through montage and a brilliantly concentrated filmic 'painterliness.'" -Jack Hirschman Karen Holmes SAVING THE PROOF (1979, 11 min, 16mm) "SAVING THE PROOF is a complex transformation of an ordinary action: a woman walking. The rhythm of her gait and the pulsating, repetitive sounds counterpoint with alternating images of her transversing city streets, passing windows and fences, descending stairs. As the images repeat and vary with mathematical precision, one becomes more interested in the process itself than in her destination." -Margaret Ganahl Chick Strand MUJER DE MILFUEGOS (1976, 15 min, 16mm. New print!) "A kind of heretic fantasy film. An expressionistic, surrealistic portrait of a Latin American woman. Not a personal portrait so much as an evocation of the consciousness of women in rural parts of such countries as Spain, Greece and Mexico; women who wear black from the age 15 and spend their entire lives giving birth, preparing food and tending to household and farm responsibilities. MUJER DE MILFUEGOS depicts in poetic, almost abstract terms, their daily repetitive tasks as a form of obsessive ritual." -Chick Strand Total running time: ca. 95 min. MONDAY, APRIL 30, 2018 4/30 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=ea5ff82401&e=f36020cad0> 6:45 PM, 32 Second Avenue EC: STAN BRAKHAGE PGM 3 Unless otherwise noted, all films are silent. ANTICIPATION OF THE NIGHT (1958, 40 min, 16mm) CAT'S CRADLE (1959, 6 min, 16mm) SIRIUS REMEMBERED (1959, 12 min, 16mm) THIGH LINE LYRE TRIANGULAR (1961, 9 min, 16mm) MOTHLIGHT (1963, 4 min, 16mm. Preserved by Anthology Film Archives.) BLUE MOSES (1963, 11 min, 16mm, b&w, sound) With ANTICIPATION OF THE NIGHT, Brakhage leaves psychodrama and enters the "closed-eye vision" period. This program also contains a unique example of a film made without a camera, MOTHLIGHT, and one of Brakhage's few sound (and 'acted') films, BLUE MOSES. Total running time: ca. 85 min. 4/30 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=a316c48eca&e=f36020cad0> 8:45 PM, 32 Second Avenue EC: STAN BRAKHAGE PGM 4 All films are silent. THE WEIR-FALCON SAGA (1970, 29 min, 16mm) THE MACHINE OF EDEN (1970, 11 min, 16mm) SEXUAL MEDITATION #1: MOTEL (1970, 7 min, 16mm. Preserved by Anthology Film Archives.) ANGELS' (1971, 2 min, 16mm) DOOR (1971, 4 min, 16mm) WESTERN HISTORY (1971, 8 min, 16mm) THE PEACEABLE KINGDOM (1971, 8 min, 16mm) Total running time: ca. 75 min. TUESDAY, MAY 1, 2018 5/1 Austin, TX: Experimental Response Cinema http://ercatx.org <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=6788b467f0&e=f36020cad0> 7:30, grayDUCK Gallery, 2213 E Cesar Chavez St MOHAIEMEN'S UNITED RED ARMY Experimental Response Cinema is proud to present, "United Red Army (The Young Man Was, Part I)" by Bangladeshi filmmaker Naeem Mohaiemen. With post-screening Q+A session with Dr. Lalitha Gopalan, professor at the Department of Radio-Television-Film and affiliate faculty in the Department of Asian Studies and South Asia Institute at University of Texas (UT), Austin. United Red Army (The Young Man Was, Part I) Naeem Mohaiemen Bangladesh, Japan, 2012 70 minutes, B&W/color The first installment in a film trilogy that traces a history of 1970s ultra-left terrorist groups, Part 1 looks at the 1977 hijacking of flight JAL 472 by the Japanese Red Army and their landing in Dhaka, Bangladesh. Filmmaker Naeem Mohaiemen remembers missing his favourite TV spy show for pre-emptive live coverage of the hostage-taking. Relying almost entirely on radio transmissions between the airport tower and the hijackers, the film displays the interactions as on-screen text. The tension and drama that builds from the clipped verbal exchanges speaks volumes, escalating from polite courtesy to mortal threat. Part 1 is an experimental suspense story that relies on the sound of disembodied voices to convey the negotiations and tenuous alliance between the Japanese Red Army’s rogue rebels and the Bangladeshi military government. Angie Driscoll THURSDAY, MAY 3, 2018 5/3 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=3a395a9691&e=f36020cad0> 7:30 PM, 32 Second Avenue THE ABSENT STONE - SANDRA ROZENTAL IN PERSON! by Sandra Rozental & Jesse Lerner. (LA PIEDRA AUSENTE) NYC PREMIERE! In 1964, the largest carved stone of the Americas was moved from the town of San Miguel Coatlinchan in the municipality of Texcoco to the National Anthropology Museum in Mexico City in an impressive feat of engineering. The extraction of the monolith, which represents the pre-Hispanic water deity, set off a rebellion in the town and led to the intervention of the army. Today, the enormous stone, now upright, is an urban monument; it has been transformed into one of the principal icons of Mexican national identity. The inhabitants of Coatlinchan insist that the removal of the stone has caused droughts. Representations and replicas of the absent stone appear everywhere in Coatlinchan, where it resonates in the memories of the inhabitants. Using animations, archival materials, and contemporary encounters with the protagonists of the transport of the stone, Sandra Rozental and Jesse Lerner's playful documentary film explores the relevance of the ruins of the past in the present day.Co-director Sandra Rozental will be here in person for a Q&A following the screening! 5/3 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=82c4aea940&e=f36020cad0> 7:30 P.M., 32 Second Ave. THE ABSENT STONE In 1964, the largest carved stone of the Americas was moved from the town of Coatlinchan to the National Anthropology Museum in Mexico City in an impressive feat of engineering. The extraction of the monolith set off a rebellion in the town and led to the intervention of the army. Today representations of the absent stone appear everywhere in Coatlinchan, where it resonates in the memories of the inhabitants. Using animations, archival materials, and contemporary encounters with the protagonists of the transport of the stone, this documentary explores the relevance of the ruins of the past in the present day. Directed by Jesse Lerner and Sandra Rozental. 82 min., 35 mm. New York premiere! SATURDAY, MAY 5, 2018 5/5 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=a6f7727561&e=f36020cad0> 7:00 PM, 32 Second Avenue TV PARTY PROGRAM One of the glories of cable access television, Glenn O'Brien's TV PARTY was NYC underground culture's very own talk-show/variety-hour. A fixture on public access Channel D and Channel J from 1972-82, TV PARTY brought a taste of downtown's glamorous, stylish, and creatively teeming club scene into New Yorker's living rooms, and featured visits and performances from the likes of David Bowie, David Byrne, Robert Fripp, the B-52s, Chris Burden, George Clinton, Iggy Pop, James Chance, John Lurie, Klaus Nomi, Kraftwerk, Alex Chilton, Arthur Russell, and many, many others, with writer, editor, and tastemaker O'Brien (who wrote the screenplay for DOWNTOWN 81, and who passed away just last year) playing the role of charismatic, droll, and always deadpan host. One repeat visitor was none other than Jean-Michel Basquiat, and this special program features glimpses of several of his appearances, including excerpts from several newly recovered and restored episodes that have not been seen since they originally aired. 5/5 San Francisco, California: Other Cinema http://www.othercinema.com/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=33c31fb05d&e=f36020cad0> 8 PM, 992 Valencia Street COMEDY OF THE UNDERGROUND: KUCHARS’ FLESHAPOIDS RELEASE + G.VAZQUEZ + We are tickled pink to celebrate the DVD edition of Mike Kuchar’s 1965 Sins of the Fleshapoids, co-written with and starring brother George! After some five years of sold-out status, this epic achievement in Mike’s storied career is once again available to his salivating fans, thanks to this extraordinary bi-lingual re-issue with our Parisian partners at Re:Voir. Mike’s here in person to answer questions about his campy sci-fi/fantasy featurette and, in fact, to screen his brand-new Perplexities, a moment in time between two people who are...nowhere. Co-featured is Gustavo Vazquez, personally introducing his now required 16mm bio George Kuchar: The Comedy of the Underground, shot in George’s Mission apt. in 1983 by now-deceased David Hallinger, edited by also-passed Curt McDowell, and with a cameo by mother Kuchar herself! ALSO: Tyler Hubby’s Last Visit with George. _____ Let us know about your alternative film/video event! Enter your event announcements by going to the Flicker Weekly Listing Form <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=a7f2f420f5&e=f36020cad0> . 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