“A self portrait locked on repeat, Broken Jaw explores the filmmaker’s fractured body and subjectivity as he grapples with the interplay between the lasting physical remnants of trauma and a total lack of memory.†– Russell Sheaffer

Special Features James N. Kienitz Wilkins

12 min., video, 2014, USA

“In a lo-fi fragment from an unnamed video production, an interviewee interacts with an interviewer, recounting a special experience at once unique and shared.†– James N. Kienitz Wilkins

Babash Lisa Truttmann & Behrouz Rae

9 min., video, 2014, USA/Austria/Iran

â€Babash is a multi-lingual parrot who lives in Los Angeles. Behrouz Rae has made friends with him over the years. Our short film is a colorful portrait of this special relationship.†– Lisa Truttmann & Behrouz Rae

Discussion Questions, presented by Martin Thebes Jonn Herschend

5 min., video, 2014, USA

“A text based PowerPoint presentation that becomes a cathartic dance party†– Jonn Herschend

F for Fibonacci Beatrice Gibson

16 min, video, 2014, UK

“Unfolding through the modular machine aesthetics of the video game Minecraft, text book geometries, graphic scores, images from physics experiments, and cartoon dreams, blend with images from wall street: stock market crashes, trading pits, algorithms and transparent glass.†– Beatrice Gibson

Non-Stop Beautiful Ladies Alee Peoples

9 min., 16mm, 2015, USA

“Non-Stop Beautiful Ladies is a Los Angeles street film starring empty signs, radio from passing cars and human sign spinners, some with a pulse and some without.†– Alee Peoples

I’m in Pittsburgh and it’s Raining Jesse McLean

14 min, video, 2015, USA

“An experimental portrait of a lighting stand-in and body double for a famous Hollywood actress, and a glimpse at the behind-the-scenes of cinema production. Music by The Velvet Underground.†-Jesse McLean

Hacked Circuit Deborah Stratman

15 min., video, 2014, USA

“A single-shot, choreographed portrait of the Foley process, revealing multiple layers of fabrication and imposition. The circular camera path moves inside and back out of a Foley stage in Burbank, California. While portraying sound artists at work, typically invisible support mechanisms of filmmaking are exposed, as are, by extension and quotation, governmental violations of individual privacy.†– Deborah Stratman

Comments are closed