(Click on the Date/Time to order tickets via the Siskel’s Ticketmaster link)
Festival Passes also available this year!

THURSDAY, MAY 31st, 8:00PM

OPENING NIGHT!

THE FOURTH DIMENSION Filmmakers in person!

Alexsei Fedorchenko, Harmony Korine, and Jan Kwiecinski, 106 min., Video, 2012, Russia/USA/Poland

Vice Media’s Eddy Moretti brings together a trio of international directors to explore “the fourth dimension,” each bringing his own singular vision and interpretation to the concept.  What is it? Where is it? What does it mean to the characters?  What does it mean to you?  The triptych opens with Harmony Korine’s “The Lotus Community Workshop,” as a motivational speaker named Val Kilmer (played by Val Kilmer) delivers a sermon at a roller rink.  In Alexsei Fedorchenko’s “Chronoeye,” a Russian scientist builds a time machine in his apartment.  The quasi-apocalyptic “Fawns” by Polish newcomer Jan Kwiecinski concludes this triumvirate as four friends stumble upon an abandoned village in the Polish countryside.  Intense, hilarious and poignant, THE FOURTH DIMENSION is an unusual cinematic experience that you’d be crazy to miss.   (CUFF)

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FRIDAY, JUNE 1st, 6:00PM

SHORTS PROGRAM: THEY LIVE BY NIGHT
2008-2012, Various directors, Various nations, 87 min.

CHRIST CHURCH – SAINT JAMES
Stephen Broomer, 7 min., 16mm, 2011, Canada
In the spring of 1998, Christ Church – Saint James, an historic black church in Toronto’s Little Italy, was destroyed by arson. All that remained were walls and a pit, and over subsequent years, the site was overtaken with graffiti. This film has taken on the layered form of the site itself: the space and its surfaces becoming tangled and multiple, the grid of a stone-filled window giving geometric form to simultaneously occurring images of nature, waste, paint, and sky. (SB)

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SECRET LIFE
Reynold Reynolds, 13 min, 16mm on HD Video, 2008, Germany
SECRET LIFE portrays a woman trapped in an apartment with a life of its own. Transcending the narrative horizons of human desire, the film visits upon us a glimpse of a shared and sacred reality. A work that defies the ultimate metaphysical taboos of temporality by combining novel technique with intrepid philosophical vision; and daring to present that which is seldom, if ever, portrayed in any artistic medium.” (RR)

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FORMS ARE NOT SELF-SUBSISTENT SUBSTANCES
Samantha Reballo, 23 min, 16mm, 2010, England
Flesh, blood, milk and meat are the subject of a film which tries to get inside “substance” via medieval imagery. An attempt to explore “what things are” through juxtaposing bestiary illuminations, Romanesque carvings, medieval bells and living things, throwing into relief the strangeness and violence of being.(SB)

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HULL
Tara Nelson, 7.5 min., 16mm, 2011, USA
A journey between layers of corporal consciousness, HULL explores the physical memory of trauma, and the psychological repercussions of a surgical disaster.. (TN)

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CURIOUS LIGHT
Charlotte Pryce, 4 min,. 16mm, 2011, USA
A manuscript illuminated: illustrations retreat into the fiber of the page; a fleeting light dissolves into the emulsion of the film: an elusive story is revisited.  The film is entirely hand processed. (CP)

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WAKING THINGS
Melika Bass, 34 min, 16mm to Video, 2011, USA
In a house in a primeval wood, a mysterious, misfit family prepares a seasonal feast for a visiting party of outlanders. As they shuffle through ritualistic preparations, shadows reveal each creature — one menacing, one wounded, and one worn, stewards of an old tradition, blood for blood.  Co-produced by and featuring ensemble members of Every house has a door performance group.(MB)

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FRIDAY, JUNE 1st, 8:00PM

HEAVY GIRLS (DICKE MÄDCHEN)
Axel Ranisch, 76 min., Video, 2011, Germany
Made for under $1,000, with no script and no crew, HEAVY GIRLS tells the tale of Sven and Daniel.  Sven lives with his mother, Edeltraut, who suffers from dementia, and Daniel is her caregiver during the day.  When Edeltraut (played with aplomb by Ranisch’s 89 year-old grandmother) goes missing, Sven and Daniel end up on a search that turns up something besides Sven’s elderly mother, and changes the nature of their relationship for good. In German with English subtitles.   (CUFF)

with:

THE NIGHT OF THE MOON HAS MANY HOURS
Mauricio Arango, 12 min., Video, 2011, Colombia/USA
A young man rafts into dark waters to recover the mysteriously dead bodies of many men. (MA)

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FRIDAY, JUNE 1st, 10:00 PM
Repeats Wednesday, June 6th, 6:00PM

JOURNEY TO PLANET X
Josh Koury and Myles Kane, 78 min.,Video, 2012, USA
Eric Swain and Troy Bernier are scientists by day and amateur filmmakers by night. Over the years these two friends have turned out many of their own amateur, sci-fi inspired movies. JOURNEY TO PLANET X follows the filming of Planet X, the duo’s most ambitious endeavor to date, and sheds light on their unique brand of “movie magic.”  While Troy views Planet X as an opportunity to launch a career in the movie-industry, Eric is content with making films as a playful and creative hobby.  Together with their cast and crew, they form an unlikely community of like-minded adventurers.   Eric and Troy are inspired by the transcendent nature of moviemaking itself, where the fantasies of being space travelers, charming leading men, and even successful filmmakers, all seem quite possible. (JK)

with:

CHROMATIC REVELRIES
Kerry Laitala, 7min, Video, 2011, USA
As spirits soar skyward, and from sky to ground, we see the vestiges of their past emanations, the cycle of life continues unfettered even if one must contend with continual respite. (KL)

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SATURDAY, JUNE 2nd, 1:00 PM

SHORTS PROGRAM: THE DEAD TALK BACK
2010-2012, Various directors, Various nations, 85 min.

FOR ADOLFAS
Joel Schlemowitz, 6 min., 16mm, 2011, USA
In memory of Adolfas Mekas. 16mm footage shot at a book release party for ‘The Sayings of St. Tula’ in 1999, and Adolfas’s retirement party as head of The People’s Film Department at Bard College in 2004. (JS)

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ONCE IT STARTED IT COULD NOT END OTHERWISE   
Kelly Sears, 8 min., Video, 2011,USA   
ONCE IT STARTED IT COULD NOT END otherwise recounts terrifying and strange happenings that descend on a 1970s high school.  (KS)

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REMOTE
Jesse McLean, 11 min., Video, 2011, USA
There is a presence lingering in the dark woods, just under the surface of a placid lake and at the end of dreary basement corridor. It’s not easy to locate because it’s outside but also inside. It doesn’t just crawl in on your wires because it’s not a thing. It’s a shocking eruption of electrical energy. (JM)

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DEJA VU DE JOUR
Mike Olenick, 2 min., Video, 2012, USA
In this silent film spectacle, an actress — played by Catherine Deneuve — encounters an unexpected, but familiar destiny. With music by Clark Wilson. (MO)

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WANING
Gina Haraszti, 8 min., Super 16mm to Video, 2011, Canada
A man, a dead woman, a depleted apartment. Not your typical murder mystery, Waning takes on the visual and temporal deconstruction of a homicide in a single fractured frame. (GH)

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BOMB SHELTER
Colin Palombi, 3 min., Video, 2012, USA
BOMB SHELTER is a poem written by Marc McKee and interpreted through animation by Colin Palombi. The poem refers to an ambiguous “hot thing”, which is here portrayed through the accepting and rejecting of common human interactions and experiences: conversation, love, and death. (CP)

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MAURICE   
Patrick Kack-Brice, 18 min., Video, 2011, France/USA
A short documentary portrait of Maurice Laroche, owner and projectionist of the ‘Beverley’, the last Porno Cinema in Paris (and possibly Europe, maybe the entire world) still playing 35mm films. The film depicts a technician holding on to his dying Art, even if it is against his own better judgment. MAURICE is an anthropological document of a man, a subculture, and a physical space that are slipping towards becoming obsolete. (PK)

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RANSOM NOTES
Kelly Egan, 4 min., 35mm, 2011, Canada   
Exploration of the filmmaker’s experience of the hijacking of her city during the Toronto G20 Summit. A re-appropriation of language and meaning through the act of collage.  (Rotterdam Film Festival)

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COMING ATTRACTIONS
Peter Tscherkassky, 25 min., 35mm, 2010, Austria
COMING ATTRACTIONS addresses Tom Gunning’s concept of a “Cinema of Attractions.” This term is used to describe a completely different relation between actor, camera and audience to be found in early cinema in general, as compared to the “modern cinema” which developed after 1910, gradually leading to the narrative technique of D.W.Griffith. The notion of a “Cinema of Attractions” touches upon the exhibitionistic character of early film, the undaunted show and tell of its creative possibilities, and its direct addressing of the audience. At some point it occurred to me that another residue of the cinema of attractions lies within the genre of advertising: Here we also often encounter a uniquely direct relation between actor, camera and audience. (PT)

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SATURDAY, JUNE 2nd, 2:00 PM

MASTER PLAN
Robert Todd, 62 min., 16mm, 2011, USA
Physical structures reflect concepts of well-being, for ourselves and for society: they are one component of a social architecture. How are the needs of a human spirit satisfied within the structures we create? What are the building blocks of a vibrant society? How do we consider the role of incarceration as an incidence of ‘managed’ housing in our social architecture?  MASTER PLAN portrays various strata of managed housing in America, form individual homes to prisons, mixing accounts of the planners’ rationales for the designs with residents’ testimonials concerning the quality of life within these structures. (RT)

with:

SING AS WE GO
Marianna Milhorat, 6 min., 16mm on Video, 2011, USA
The city’s wavering light is its pulse and its extinguishment.

SLAB CITY PROM
Jordan Blady, 8 min., Video, 2012, USA
Builder Bill moves to Slab City and builds The Range, setting the stage for the community’s most important event of the season, Prom. (JB)

CARTOGRAPHY
Sara Mott, 5 min.,16mm on Video, 2011, USA
Following shopping carts out of stores and into the streets, Cartography charts an alternative landscape of material culture in American life. (SM)

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SATURDAY, JUNE 2nd, 4:00 PM

GIRL MODEL
Ashley Sabin and David Redmon, 78 min., Video, 2011, USA
Despite a lack of obvious similarities between Siberia and Tokyo, a thriving model industry connects these distant regions. GIRL MODEL follows two protagonists involved in this industry: Ashley, a deeply ambivalent model scout who scours the Siberian countryside looking for fresh faces to send to the Japanese market, and one of her discoveries, Nadya, a thirteen year-old plucked from the Siberian countryside and dropped into the center of Tokyo with promises of a profitable career. After Ashley’s initial discovery of Nadya, the two rarely meet again, but their stories are inextricably bound. As Nadya’s optimism about rescuing her family from their financial difficulties grows, her dreams contrast against Ashley’s more jaded outlook about the industry’s corrosive influence. (AS/DR)

with:

STRONG IS BEAUTIFUL
Dewey Nicks, 4 min.Video, 2012, USA
40 of the biggest names in the women’s tennis are documented in Nicks’s dramatic film. Shot with a 600-frames-per-second Phantom EFX camera, in temperatures over 100 degrees, the stars were captured fresh from battle in between rounds at tournaments across the US. Seeking to champion each player’s unique strengths, Nicks highlighted their signature strokes in slow motion (DN)

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SATURDAY, JUNE 2nd, 5:00 PM

HEAVEN + EARTH + JOE DAVIS
Peter Sasowsky, 85 min., Video, 2011, USA
Almost thirty years ago, a peg-legged artist and motorcycle mechanic from Mississippi walked into MITs Center for Advanced Visual Studies and demanded a meeting with the Director. Forty-five minutes later, after trashing the receptionist’s desk and holding off the Cambridge police, Joe Davis walked out with an academic appointment at MIT. His status there has provided him with resources for much of his work – including sending vaginal contractions into space to communicate with aliens, poetry encoded into DNA, and a language to write the world beneath the world. It’s a great life for a man driven by his imagination, except when it’s not. His gig at MIT is unpaid. He gets evicted from several apartments and loses his lab space to science.  But perhaps his greatest obstacle is that people refuse to understand him. He is claimed by neither the Art nor Scientific communities. His uncompromising approach to art and life spawns conflicts in his personal life and hinders his ability to address the everyday world’s banal requirements. To Joe, it’s more important to try to discover man’s place in the cosmos.  Working with home movies, drawings, and verite and interview footage, HEAVEN + EARTH + JOE DAVIS takes the viewer with Joe around the world and into the visual and philosophical landscape of his art. It is a story of self-discovery, sacrifice, and the complexity of human endeavor, constructed around a theme central to his work; that everything is connected, often in the most unexpected ways. (PS)

with:

SPACE TIME DOG
Nikolaus Eckhard, 6 min., Video, 2010, AUSTRIA
In RaumZeitHund Nikolaus Eckhard refers directly to Muybridge’s famous photo series ‘Animal Locomotions.’ A dog, specially trained for this purpose, is filmed on a treadmill in extreme slow motion (150 individual images per second). But in contrast to his role model, Eckhard does not use a slender, athletic greyhound, but rather, a less representative, long-eared brown Alpine Dachsbrackeafter.
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SATURDAY, JUNE 2nd, 6:00 PM

OK, GOOD
Daniel Martinico, 79 min., Video, 2012, USA
Paul Kaplan seems like your typical actor in Los Angeles. He goes to auditions, takes movement class, sends out headshots, and listens to motivational tapes in his car. However, as Paul struggles through a series of demoralizing setbacks, he is pushed ever closer to the edge. With a compelling mix of vérité technique and confining formalism, OK, GOOD is a wildly unusual meditation on performance, identity, anxiety, and one man’s personal apocalypse. (DM)

with:

THE GHOST OF FATTY ARBUCKLE
Melissa Friedling, 10 min., Video, 2012, USA
Take a tour of a historic Brooklyn, NY film and TV studio before and after the final taping of the second-longest continuously run American daytime soap, “As The World Turns”, and awaken haunting spirits of productions past. (MF)

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SATURDAY, JUNE 2nd, 8:00 PM

HOLLYWOOD BURN
Soda_Jerk, 52 min., Video, 2011, Australia
HOLLYWOOD BURN is a free-culture call to arms. Mimicking the hyperbolic rhetoric of today’s copyright cops, the project pits a righteous league of video pirates against the evil tyrant Moses and his Copyright Commandments. Determined to alter the present by changing the past, the pirates travel back to 1955 to construct the ultimate weapon: an Elvis Presley video-clone. Sampled from hundreds of sources, this anti-copyright epic adopts the tactical responses of the parasite, feeding off the body of Hollywood and inhabiting its cinematic structures and codes. Its all-star cast includes Elvis Presley, Monkey Magic, Batman & Robin, Moses, Jesus, The Hulk, The Hoff, & The Ghostbusters. (Soda_Jerk)

with:

WHY IS THE NO VIDEO SIGNAL BLUE?
Andrew Norman Wilson, 10 min., Video, 2011, USA
The video starts by asking why the no video signal is blue. At first it presents a futile attempt to deconstruct the meaning of the color blue, then reaches beyond standard rhetorical and semiotic models through the philosophy of Brian Massumi, William James, and Ludwig Wittgenstein, interactions with Sony customer support, and the compositions of Walter de Maria and Alice DeeJay. (AW)

MIGRATION
Douglas Urbank, 4 min., 16mm , 2012, USA
An adolescent girl’s daydream of transmutation. (DU)

UNUSUAL RED CARDIGAN
John Smith, 13 min., Video, 2011, UK
The discovery of a familiar item for sale on eBay triggers obsessive speculation about the seller’s identity. (LUX)

RHYTHMUS 21st CENTURY (STRAIGHT)
Eric Fleischauer, 3 min., Video, 2012, USA
A remake of Hans Richter’s seminal film from 1921 RHYTHMUS 21 (re)made with frame–accurate precision using sophisticated animation software. This cultural artifact is not simply preserved or even recycled, but reinvented. Instead of the clarity and directness of citation, RHYTHMUS 21st CENTURY draws attention to the unreliability of the archive where even the exact trace of an original can accrue meaning and be transformed through newly created associations. This process raises important questions about the role of materiality in the digital age, the various ways art history’s archive might be used, and the complicated roles they play shaping a collective cultural memory. (EF)

A.G.O.D. 2012
Thorne Brandt, 5 min., Video, 2012, USA
This video consists of 1,000 hand drawn animations, completed in less than a day, and splattered onto the frame. (TB)

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SATURDAY, JUNE 2nd, 10:00 PM

SHORTS PROGRAM: WILD REBELS
2010-2012, Various directors, Various nations, 88 min.

FANFARE for MARCHING BAND
Danièle Wilmouth,16 min., 16mm on Video, 2012, USA   
Saturated colors, euphoric music, and ecstatic dance choreography fail to engage an immobilized public. FANFARE for MARCHING BAND follows the antics of a ragtag musical militia, as they embark on an inept invasion through a parallel universe where their exuberant music is out of sync and unheard. Reflecting on today’s lean economic times, this music and dance film features choreography by Peter Carpenter, and music by the circus punk marching band Mucca Pazza, as they stage musical ACTIONS for JOY at various inappropriate locations around the city of Chicago. (DW)

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DAMAGE CONTROL (AKA-BULLWINKLE FILM)   
Adam Paradis, 4 min., 16mm, 2010, USA   
This film began as an experimental restoration of a hypothetical parody; Jay Wards’ Bullwinkle does Peter Kubelka. Carved from a larger reel containing only credit sequences from The Bullwinkle Show, that was proclaimed ‘junk’ by one collector, but later declared ‘damage control’ by another. In other words, this was not simply a reel of scraps, but material used at one time to maintain print quality for broadcast. The challenge of balancing the creative process with the efforts to produce a viewable and projectable print deeply inflected the making of this film, and is a reflection of the ongoing efforts of both archivists and filmmakers to keep works alive. Re-spliced and rebuilt several times, at times becoming more of a restoration process than a creative one. (AP)

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WALT DISNEY’S TAXI DRIVER
Bryan Boyce, 5 min., Video, 2012, USA   
Walt Disney’s re-imagineering of Martin Scorsese’s classic film TAXI DRIVER follows Mickey Mouse-obsessed Travis Bickle as he looks for love in a rapidly transforming New York City. (BB)

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THE LIFE AND FREAKY TIMES OF UNCLE LUKE
Jillian Mayer, 12 min., Video, 2011, USA
A modern Miami adaptation of the 1962 French short film LA JETÉE, the film recounts Luke’s (Uncle Luke, legendary rapper from the hip-hop group 2 Live Crew) rise to fame as he changes the face of hip-hop and fights for first amendment rights- and later as he ushers Miami into a golden era of peace and prosperity as Mayor. Everything changes when a nuclear meltdown at Turkey Point Power Plant turns Miami into a radioactive wasteland filled with mutants, and Luke is the only survivor left unscathed” (JM)

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THE ROOM WITH NO CORNERS   
Jenna Caravello, 5 min., Video, 2011, USA
Maxime’s weird house is surrounded by people. She must learn to be happy, but is it better to be outside or in? (JC)

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BEGINNINGS (ALPHA & OMEGA)
Roger Beebe, 5 min., Video, 2010, USA
A lazy man’s Biblical concordance. A new start for the start. A mechanical re-scrambling of a(n all-too) familiar audio text that produces concrete poetry and an ideological unveiling. (RB)

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THE WHITE COAT PHENOMENON
Kristin Reeves, 3 min., Video, 2012, USA
Finding sex in an unexpected location requires some examination. (KR)

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BY FOOT-CANDLE LIGHT
Mary Helena Clark, 9 min., Video, 2011, USA
A walk through the proscenium wings. You close your eyes and suddenly it is dark. (MC)

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NATURE’S VOICE
Peter Jessien Laugesen, 8 min., Video, 2011, UK   
An observational portrait of human alterations of nature- The film depicts usual phenomena in an unusual way. We see images of normal suburban gardens, parks, woodlands and majestic mountains. Some inhabitants include a capitulating squirrel, a pack of hungry dogs and a singing gnome. It’s a rare glimpse into wild life under control and the domesticated running wild. (PJ)

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FLEXING MUSCLES   
Charles Fairbanks, 21 min., Video, 2012, Mexico
A wrestling movie about postmodern consumption and production: physical work and embodied culture for the digital age. It is also an immersive, participatory, experimental ethnography on Mexico’s spectacular masked wrestling – Lucha Libre – for which the filmmaker resumed his career fighting as The One-Eyed Cat (El Gato Tuerto), this time with a camera built into his mask… (CF)

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SUNDAY, JUNE 3rd, 1:00 PM
Repeats Wednesday, June 6th, at 8:00 PM

ZERO KILLED
Michal Kosakowski, 81min., Video, 2011, Germany/Austria
Since 1996 film director Michal Kosakowski has been asking people with different backgrounds about their murder fantasies. He offered them the chance to stage their fantasies as short films. The only condition was that they had to act in these films themselves, either as victims or perpetrators. More than a decade later, Kosakowski met these people again to ask them about their emotions during their acts of murder or victimization, and interviewed them about current social topics such as revenge, torture, war, terrorism, media, domestic violence, the death penalty, suicide etc. If someone murdered a person you love, how would you feel about it? Should torture be legalized? Are soldiers murderers? How to define good and evil? Their replies are juxtaposed with the short films based on these “non-criminal” fantasies made accessible to viewers. Simultaneously, the participants’ respective replies help viewers to get better acquainted with them and their highly diverse social and professional backgrounds. It is the banality of their acts that frightens us so badly, their stabbing of innocent people, their orgiastic throttling of marriage partners or their random shooting of unsuspecting visitors to exhibitions. ZERO KILLED takes the issue one step further: the film deciphers common clichés and patterns of visual violence with the aid of the protagonists’ immediate and direct comments. The result is an unconventional hybrid of feature film and documentary that makes viewers question their personal and social positions concerning ethical and moral values and taboos. (MK)

with:

ELKO
Alexander Yan, 14min,Video, 2011, USA
An internet-obsessed boy in rural Nevada takes advantage of a stranger’s online request that somebody murder her. (AY)

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SUNDAY, JUNE 3rd, 2:00 PM

AS ABOVE SO BELOW
Sarah J Christman, 60 min., 16mm, 2012, USA
For thousands of years, alchemists toiled to synthesize rare substances and universal cures, to manipulate the speed of natural processes. Today, my mother has her husband’s ashes transformed into a memorial diamond. Precious metals are extracted from obsolete electronics. What was once the world’s largest landfill– now also the final resting place of the World Trade Center’s remains– is being converted into a public park. The film intimately examines various transmutations, both microscopic and massive, that reshape matter and its meanings. What separates the permanent from the impermanent, the things we discard from those we preserve? (SC)

with:

FIRST LAW: QUAIL CT.
Mike Gibisser, 23 min., 16mm, 2011, USA
The first of a four part series. The first law of thermodynamics suggests energy can neither be created nor destroyed; the film a meditation on this axiom. The lines between religion, science, morning exercise, and breakfast cereal blur as an old man carries on with diurnal routines after his wife has passed. (MG)

SCENE BOX
Sheri Wills, 5 min., Video, 2011, USA
The visual equivalent of a dusty box of aged, foil-covered chocolates, SCENE BOX presents a barely overheard promise of mystery – seductive, but not necessarily pleasant. A veiled diorama of uncertainty. (SW)

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SUNDAY, JUNE 3rd, 4:00 PM

SHORTS PROGRAM: ATTACK OF THE EYE CREATURES
2009-2012, Various directors, Various nations, 90 min.

FEBRUARY 2008 & JUNE1967   
Mark Toscano, 7 min., 16mm, 2010, USA
An experiment in bringing together two field observations of two completely different activities from two disparate times and places. I joined these twin moments (one captured, one found) as a way of trying to understand what the experience of the one would do to the experiencing of the other in the linear time of a darkened film theater. (MT)

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 CRUSTS
Alexander Stewart, 12min., 16mm on Video, 2011, USA
CRUSTS is a minimalist psychedelic film that combines a searing drone soundtrack with footage of mysterious architectural and natural artifacts. Using a visual composition of objects rotating in a void, the film evolves from meditations on concrete physical textures to a complete stroboscopic transfiguration of the image. The objects are accompanied by a crushing, hypnotic onslaught of guitar and electronic noise. A geologic horror film. (AS)

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KERATIN RESERVE
Joshua Solondz, 3 min.,16mm, 2009, USA   
Six hundred seventy-three fingernails glued to destroyed film. Optically printed. (JS)

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(K)NOW (T)HERE  
Hey-Yeun Jang, 9 min.,16mm on Video, 2011, USA   
A film diary about series of journeys of summer 2009 that was simply to be ‘on the road’. (HJ)

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THIS MUST BE THE PLACE  
Luis Arnías, 6 min., 16mm, 2011, USA

“Live each season as it passes; breathe the air, drink the drink, taste the fruit, and resign yourself to the influences of each.” -Henry David Thoureau (LA)

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PERIL OF THE ANTILLES   
Fern Silva, 5 min., 16mm, 2011, USA   
PERIL OF THE ANTILLES was filmed at the beginning of November 2010 while visiting a friend in Haiti. At this specific time, the cholera epidemic was on its way to Port-au-Prince, Hurricane Tomas was on the horizon, presidential elections were in a couple weeks and the first Gede (day of the dead) took place since the January quakes. Along the way I acquired a very curious copy of a music video of Michel “Sweet Micky” Martelly (Haiti’s newest president and once bad boy of Compas), from his early Nineties heyday… shot in a familiar location… rajé gain´ zoreille… (FS)

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TRACES 1-6  
Scott Stark, 7 min., 35mm, 2012, USA
A series of short 35mm films generated from digital still images and printed onto movie film. The top and bottom half of each image alternate in the projector gate, and the images are arranged in a dizzying array of rhythms and patterns. The images also bleed onto the optical soundtrack area of the film, generating their own peculiar sounds. (SS)

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UNDERGROWTH
Robert Todd, 11 min., 16mm, 2011, USA
A blind predator dreams through its prey’s eyes. (RT)

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JUBILATION   
Tommy Heffron, 14 min., Video, 2011, USA   
Hover. Cover. Rock. Sit. Pop. Stand. Focus. Rumble. Purr. Listen. Stretch. Walk. Stop. Float. Chop. Turn. Burn. Appear. Approach. Hoist. (TH)

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FLASH ART (CIRCLES AND RECTANGLES)
Scott Wolniak, 5 min., Video, 2010, USA
Decidedly low-tech, this optical abstraction begins with a shot of an aluminum reflector inside a lamp; a lightbulb in the shot’s center flicks on and off. As the video plays on, nearly identical shots are superimposed, but at a steadily decreasing scale, resulting in an array of nested rectangles. The rhythmic blinking of intense light- accompanied by audible clicks from the plastic light switch- presents the viewer with a swift progression of blinding geometries, (with) dizzying effects. (Michelle Grabner, Artforum, May 2010)

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RIVER RITES   
Ben Russell, 11 min., 16mm on Video, 2011, USA/Suriname
A trance dance water implosion, a newer line drawn between secular possession and religious phenomena. Filmed in one shot at a sacred site on the Upper Suriname River, the minor secrets of a Saramaccan animist everyday are revealed as time itself is undone. Rites are the new trypps; embodiment is our eternal everything. (BR)

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SUNDAY, JUNE 3rd, 6:00 PM

PALACES OF PITY (PALÁCIOS DE PENA)
Daniel Schmidt & Gabriel Abrantes, 59 min., 16mm to Video, 2011, Portugal
Haunted by their own directionless lives, two pre-adolescent girls reunite while visiting their ailing grandmother. In the midst of her fantasies of a medieval past – one consumed by fear and desire – the two girls are transformed and confront a legacy of oppression. Palácios de pena is about a culturally inherited fear in Portugal, linked to political and social oppression during the Inquisition and Fascism. It revolves around two uppermiddle class adolescent Portuguese girls, juxtaposing their budding identities to a trial condemning two Moorish homosexuals to burn at the stake. Their ailing grandmother gives them an awareness of their heritage through the mechanism of desire, describing a dream where she is a judge of the Inquisition. The grandmother’s and the girls’ guilt is complicated by their relationship, that of family and love. As they love each other, so does what they represent: ignorance and the will to violently oppress. (GA/DS)

with:

LEAFLESS
Nazlı Dinçel, 8 min, 16mm, 2011
LEAFLESS is an experiment of expansion in time, a hand processed love poem of textures about becoming familiar with a significant other’s body in reservation with its landscape. “But the sun is also fierce; neither graceful athlete nor geometrician’s dummy will embody Apollo, the idol of light.” – Kenneth Clark,The Nude: a study in ideal form (1956) (ND)

THE EVIL EYES
Bobby Abate, 20 min., Video, 2011, USA
Set in the 1960’s, THE EVIL EYES is the story of a grandmother faced with her mortality, a mother in mid-life crisis, and a son realizing his sexuality – a dysfunctional family whose unspoken angst manifests in the latest episode of their beloved supernatural soap opera, Before Dawn. (BA)

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SUNDAY, JUNE 3rd, 8:00 pm
Repeats Tuesday, June 5, 8:00 pm

I HAVE ALWAYS BEEN A DREAMER
Sabine Gruffat, 78 min., 16mm on Video, 2012, USA/United Arab Emirates
A documentary travelogue and film portrait of two cities in contrasting states of development: Dubai, UAE and Detroit, U.S.A. Within the context of a boom and bust economy, the film questions the collective ideologies that shape the physical landscape and impact local communities.  Though these cities represent two different economic eras (Fordist and Post-Fordist), both cities vividly illustrate the effects of economic monocultures and the arbitrary consequences of geopolitical advantage. The film serves as a visual documentation of these two cities as indexes of political, cultural and economic change while tracing the ways each city’s development is tied to technologies of communication, production, labor, and consumption. The portion of the film concerning Dubai depicts a postmodern city in a continual process of being built, and posits Dubai as virtual in the sense that it is artificial, performed and shaped by an increasingly service-based economy driven by tourism. By contrast, the portion of the film depicting Detroit reveals a once shining example of a Fordist city presently in ruins and in the process of being vacated, beleaguered by a failing industrial-based economy vacillating between ideologies of self-preservation and destruction. The film was shot in Detroit, MI and Dubai, UAE, exploring their landscape through various modes of transport, and includes interviews with local historians, scholars, and artists. The film was produced between 2007 and 2011. (SG)

with:

CHEVELLE
Kevin Jerome Everson, 7.5 min., 35mm, 2012, USA
Chevelle  (2012) consists of two General Motors automobiles meeting their fate or discovering a new form.  (KE) Sound by Chris Kennedy.  Print courtesy of the artist, Trilobite-Arts-DAC and Picture Palace Pictures.

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SUNDAY JUNE 3rd, 8:00 PM
Repeats Thursday, June 7, 6:00 pm

CLOSING NIGHT! (of the weekend…Still more films to come!) WORLD PREMIERE!

VIDEO DIARY OF A LOST GIRL
Lindsay Denniberg, 90 min., Video, 2012, USA
Lilith was made from the dust like Adam, and therefore considered herself his equal. Adam did not agree, so Lilith escaped from the Garden of Eden, and copulated with hundreds of demons near the red sea, giving birth to the Lilin.  The Lilin still exist today, and new Lilin are born as fully grown women (once every hundred years, a new Lilin rises from the dust of the earth). They are immortal, and must have sex with a man every full moon instead of menstruating, or else they will bleed to death! The catch is though, every man who sleeps with them, dies! Now present day, our main character Louise has been around since the 1920’s. She is starting to see the reincarnation of the only man she ever loved, Charlie. (Louise accidentally killed Charlie before realizing she was a Lilin). Now Louise must struggle with staying away from the love of her life, or risk losing him a second time! (LD)

with:

DERIVATION
Hyun-Suk Seo, 7min., Video, 2011, South Korea
DERIVATION is a re-assemblage of sensually charged moments from Korean horror films of the 2000’s. Recycled as found footage, such derivative motifs as false surprises, quick head turns, sudden awakenings, and screams are repeated to form musical patterns. The rhythmic and rhymic structure creates a pure “cinematic shock.” (HS)

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MONDAY, JUNE 4th, 6:00 PM

TWO YEARS AT SEA
Ben Rivers, 86 min., 35mm, 2011, UK
A man called Jake lives in the middle of the forest. He goes for walks in whatever the weather, and takes naps in the misty fields and woods. He builds a raft to spend time sitting in a loch. He sleeps in a caravan that floats up a tree. He is seen in all seasons, surviving frugally, passing the time with strange projects, living the radical dream he had as a younger man, a dream he spent two years working at sea to realise.

I made a short film about Jake five years ago, and as time has passed and other films have been made, I have had a continual feeling that I should go back—to make another film where I, and then the audience, can spend more time hanging around Jake’s place in the forest. I want the film to embrace the different perception of time that Jake and his environment have, which is much more patient and relaxed than my own urban living. The film will have at its core the relationship between a person and the place they have chosen to live out their life, and the deep connection there is between them. (BR)

with:

TEAR IT UP, SON!   
Ross Nugent, 9min., Video, 2011, USA
Backwoods ballyhoo straddling the Ahiah/Pennsyltucky border, sanctioned by $10 and a sign-yer-life-away waiver. Attended by up to 10,000 motherlovers some Fridays, this is Yankee Lake Truck Night. Yours truly was able to slip into the muck with a camera and nary a “whatcha shooting?”. Yes, a simple thumbs-up for mud- slinging hot-dawgers passing by my rig, or my own intonation, “where ya from?” (to wit: OH, PA, NY, TN, KY, WV, MI) was enough to keep me rolling… (RN)

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MONDAY, JUNE 4th, 8:00 PM

HEADLOCK
Johan Carlsen, 63min., 35mm, 2011, Germany
As the highly pregnant Susanne crashes through the doors of the hospital emergency entrance, thoroughly unprepared for the birth ahead, she begins to panic. In a fit of hysteria – the contractions are just setting in – she has an vision: she need not worry, this child is predestined. Twelve years later, Susanne is looking forward to a fresh start. After years of abstention, she is hoping for a steady relationship. But her son, whom she since the vision believes to be a genius, is writing unreadable essays in school and his teacher wants to put him in special ed. Susanne and Jonathan wrestle for their life.The film is a collaboration between the director Johan Carlsen and Cornelia and Christopher Kwanka, a mother and son living in Berlin-Lichtenberg. Conny and Christopher act out scenes from Johanʼs childhood and their own experience. They play Johnny and Susanne, a mother and son fighting for recognition and balance. (JC)

with:

AND I WILL RISE IF ONLY TO HOLD YOU DOWN
Jennifer Reeder, 23 min., Video, 2011, USA
A couple (an amateur magician and a modern dance instructor) discusses their impending and badly-hatched plan to break up, while in a nearby room, their teenager daughter and her bff prepare for the high school dance. The couple’s actions away from each other suggest that they are still deeply in love but hilariously unable to communicate or emote successfully. Their daughter and her friend awkwardly discuss an encounter with the friend’s biological mother earlier in the day. In the end, multiple secret crushes are revealed. This is a story about loving, being loved, a glow in the dark tee shirt and slow jams. (JR)

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TUESDAY, JUNE 5th, 6:00 PM

SHORTS PROGRAM: THE DEAD TALK BACK
2010-2012, Various directors, Various nations, 85 min.

For Adolfas
Joel Schlemowitz, 6 min., 16mm, 2011, USA
In memory of Adolfas Mekas. 16mm footage shot at a book release party for ‘The Sayings of St. Tula’ in 1999, and Adolfas’s retirement party as head of The People’s Film Department at Bard College in 2004. (JS)

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ONCE IT STARTED IT COULD NOT END OTHERWISE   
Kelly Sears, 8 min., Video, 2011,USA   
ONCE IT STARTED IT COULD NOT END otherwise recounts terrifying and strange happenings that descend on a 1970s high school.  (KS)

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REMOTE
Jesse McLean, 11 min., Video, 2011, USA
There is a presence lingering in the dark woods, just under the surface of a placid lake and at the end of dreary basement corridor. It’s not easy to locate because it’s outside but also inside. It doesn’t just crawl in on your wires because it’s not a thing. It’s a shocking eruption of electrical energy. (JM)

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DEJA VU DE JOUR
Mike Olenick, 2 min., Video, 2012, USA
In this silent film spectacle, an actress — played by Catherine Deneuve — encounters an unexpected, but familiar destiny. With music by Clark Wilson. (MO)

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WANING
Gina Haraszti, 8 min.,Video, 2011, Canada
A man, a dead woman, a depleted apartment. Not your typical murder mystery, Waning takes on the visual and temporal deconstruction of a homicide in a single fractured frame. (GH)

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BOMB SHELTER
Colin Polombi, 3 min., Video, 2012, USA
BOMB SHELTER is a poem written by Marc McKee and interpreted through animation by Colin Palombi. The poem refers to an ambiguous “hot thing”, which is here portrayed through the accepting and rejecting of common human interactions and experiences: conversation, love, and death. (CP)

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MAURICE   
Patrick Kack-Brice, 18 min., Video, 2011, France/USA
A short documentary portrait of Maurice Laroche, owner and projectionist of the ‘Beverley’, the last Porno Cinema in Paris (and possibly Europe, maybe the entire world) still playing 35mm films. The film depicts a technician holding on to his dying Art, even if it is against his own better judgment. MAURICE is an anthropological document of a man, a subculture, and a physical space that are slipping towards becoming obsolete. (PK)

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RANSOM NOTES
Kelly Egan, 4 min., 35mm, 2011, Canada   
Exploration of the filmmaker’s experience of the hijacking of her city during the Toronto G20 Summit. A re-appropriation of language and meaning through the act of collage.  (Rotterdam Film Festival)

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COMING ATTRACTIONS
Peter Tscherkassky, 25 min., 35mm, 2010, Austria

COMING ATTRACTIONS addresses Tom Gunning’s concept of a `Cinema of Attractions’. This term is used to describe a completely different relation between actor, camera and audience to be found in early cinema in general, as compared to the `modern cinema’ which developed after 1910, gradually leading to the narrative technique of D.W.Griffith. The notion of a `Cinema of Attractions’ touches upon the exhibitionistic character of early film, the undaunted show and tell of its creative possibilities, and its direct addressing of the audience. At some point it occurred to me that another residue of the cinema of attractions lies within the genre of advertising: Here we also often encounter a uniquely direct relation between actor, camera and audience. (PT)

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TUESDAY, JUNE 5th, 8:00 PM

I HAVE ALWAYS BEEN A DREAMER
Sabine Gruffat, 78 min., 16mm on Video, 2012, USA/United Arab Emirates
A documentary travelogue and film portrait of two cities in contrasting states of development: Dubai, UAE and Detroit, U.S.A. Within the context of a boom and bust economy, the film questions the collective ideologies that shape the physical landscape and impact local communities.  Though these cities represent two different economic eras (Fordist and Post-Fordist), both cities vividly illustrate the effects of economic monocultures and the arbitrary consequences of geopolitical advantage. The film serves as a visual documentation of these two cities as indexes of political, cultural and economic change while tracing the ways each city’s development is tied to technologies of communication, production, labor, and consumption. The portion of the film concerning Dubai depicts a postmodern city in a continual process of being built, and posits Dubai as virtual in the sense that it is artificial, performed and shaped by an increasingly service-based economy driven by tourism. By contrast, the portion of the film depicting Detroit reveals a once shining example of a Fordist city presently in ruins and in the process of being vacated, beleaguered by a failing industrial-based economy vacillating between ideologies of self-preservation and destruction. The film was shot in Detroit, MI and Dubai, UAE, exploring their landscape through various modes of transport, and includes interviews with local historians, scholars, and artists. The film was produced between 2007 and 2011. (SG)

with:

CENTURY
Kevin Jerome Everson, 7 min., 16mm on Video, 2011, USA
The second in a series of films of automobiles being compacted for disposal, CENTURY refers not only to the Buick destroyed in the film but the rise and fall of the auto industry in the north eastern states and provinces over the last 100 years. (KE)

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WEDNESDAY, JUNE 6th, 6:00 PM

JOURNEY TO PLANET X
Josh Koury, 78 min.,Video, 2012, USA
Eric Swain and Troy Bernier are scientists by day and amateur filmmakers by night. Over the years these two friends have turned out many of their own amateur, sci-fi inspired movies. JOURNEY TO PLANET X follows the filming of Planet X, the duo’s most ambitious endeavor to date, and sheds light on their unique brand of “movie magic.”  While Troy views Planet X as an opportunity to launch a career in the movie-industry, Eric is content with making films as a playful and creative hobby.  Together with their cast and crew, they form an unlikely community of like-minded adventurers.   Eric and Troy are inspired by the transcendent nature of moviemaking itself, where the fantasies of being space travelers, charming leading men, and even successful filmmakers, all seem quite possible. (JK)

with:

CHROMATIC REVELRIES
Kerry Laitala, 7min, Video, 2011, USA
As spirits soar skyward, and from sky to ground, we see the vestiges of their past emanations, the cycle of life continues unfettered even if one must contend with continual respite. (KL)

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WEDNESDAY, JUNE 6th, 8:00 PM

ZERO KILLED
Michael Kosakowski, 81min., Video, 2011, Austria
Since 1996 film director Michal Kosakowski has been asking people with different backgrounds about their murder fantasies. He offered them the chance to stage their fantasies as short films. The only condition was that they had to act in these films themselves, either as victims or perpetrators. More than a decade later, Kosakowski met these people again to ask them about their emotions during their acts of murder or victimization, and interviewed them about current social topics such as revenge, torture, war, terrorism, media, domestic violence, the death penalty, suicide etc. If someone murdered a person you love, how would you feel about it? Should torture be legalized? Are soldiers murderers? How to define good and evil? Their replies are juxtaposed with the short films based on these “non-criminal” fantasies made accessible to viewers. Simultaneously, the participants’ respective replies help viewers to get better acquainted with them and their highly diverse social and professional backgrounds. It is the banality of their acts that frightens us so badly, their stabbing of innocent people, their orgiastic throttling of marriage partners or their random shooting of unsuspecting visitors to exhibitions. ZERO KILLED takes the issue one step further: the film deciphers common clichés and patterns of visual violence with the aid of the protagonists’ immediate and direct comments. The result is an unconventional hybrid of feature film and documentary that makes viewers question their personal and social positions concerning ethical and moral values and taboos. (MK)

with:

ELKO
Alexander Yan, 14min,Video, 2011, USA
An internet-obsessed boy in rural Nevada takes advantage of a stranger’s online request that somebody murder her. (AY)

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THURSDAY, JUNE 7th, 6:00 PM

VIDEO DIARY OF A LOST GIRL
Lindsay Denniberg, 90min., Video, 2012, USA
Lilith was made from the dust like Adam, and therefore considered herself his equal. Adam did not agree, so Lilith escaped from the Garden of Eden, and copulated with hundreds of demons near the red sea, giving birth to the Lilin.  The Lilin still exist today, and new Lilin are born as fully grown women (once every hundred years, a new Lilin rises from the dust of the earth). They are immortal, and must have sex with a man every full moon instead of menstruating, or else they will bleed to death! The catch is though, every man who sleeps with them, dies! Now present day, our main character Louise has been around since the 1920’s. She is starting to see the reincarnation of the only man she ever loved, Charlie. (Louise accidentally killed Charlie before realizing she was a Lilin). Now Louise must struggle with staying away from the love of her life, or risk losing him a second time! (LD)

with:

DERIVATION
Hyun-Suk Seo, 7min.Video, 2011, South Korea
DERIVATION is a re-assemblage of sensually charged moments from Korean horror films of the 2000’s. Recycled as found footage, such derivative motifs as false surprises, quick head turns, sudden awakenings, and screams are repeated to form musical patterns. The rhythmic and rhymic structure creates a pure “cinematic shock.” (HS)

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THURSDAY, JUNE 7th, 8:00 PM

Special Presentation!

ANDREW BIRD: FEVER YEAR
Xan Aranda, 80 min., Video, 2011, USA
Summer of 2009, Andrew and I were sitting on his porch and he asked me to make a concert film capturing the 165th (and final) show of the year with his beloved band-members, knowing their tight onstage bubble would disperse soon after. He’d spent nearly five years carefully assembling the band, and was loathe to leave its only visual record to short TV appearances and internet videos. Andrew was in the middle of an insane touring year – the apex of over a decade of hard work. He’d been suffering from perpetual fever, a common topic of our late night post-show phone calls from wherever he was in the world. I’d joke that he was a frog in hot water, temperature rising to meet the rigor. We’d previously collaborated on three projects (live-show projections, two music videos) and for years I’d had an opinion of how a feature-film about him should be made. Just as Andrew is often praised, criticized, or cornered for creating “unclassifiable” music, I strongly believed that a “rockumentary” or “concert capture” approach would not adequately honor his work.FEVER YEAR isn’t a document of Andrew’s intimate details or an assay of his sweat. It’s a snapshot of a time during which he became “perfectly adapted to the music hall” – his risk and reward for being an undeniable creative force. (XA)