“Home” Movies
The Film-Makers’ Coop
September 14, 2022
Screening on September 24, 2022
https://film-makerscoop.com/screenings/home-movies
Tickets: https://filmmakerscoop.ecwid.com/Home-Movies-p492156671
Join us on Saturday, September 24th at 6pm in the FMC Screening Room for “HOME” MOVIES: A program of avant-garde shorts exploring homes and domestic spaces from the 1940s through the 2010s. Curated by Matt McKinzie.
“The past two years have seen us retreat into our homes in an unprecedented way. The necessity of lockdowns, quarantine periods, and social distancing with the rise of Covid-19 (and more recently, monkeypox) have forced us to contend with domestic spaces – our kitchens, bathrooms, bedrooms – almost constantly, unable to venture into the outside world in a totally safe way.
There are certain notions associated with the domestic sphere and homes in general. Often, “home” is a “constant”: a fixed geographical space where we retreat, eat, bathe, and sleep. Lockdowns and quarantines within the past two years have complicated that space; home is where we do practically everything now.
The term “home movie” is defined as: “a film made at home, or without professional equipment or expertise, especially a movie featuring one’s own activities.” But a “home movie” is not necessarily a “home” movie.
After all, “home movies,” in the traditional sense, might arbitrarily depict everything from birthdays to holidays to family picnics to weddings to graduation ceremonies… the list goes on. These moments, while valuable in their own ways, don’t necessarily convey or examine the “home.”
This program, “Home” Movies, looks at films specifically about homes and the domestic sphere, and asks: how have filmmakers, throughout history, documented and examined homes and domestic spaces? How have they explored and subverted the “home,” on screen, in ways physical, personal, and/or political? What larger patterns and trends can be discerned from the various filmic depictions of homes and domestic spaces, depending on when a given film was made and the identity and lived experiences of the filmmaker? And, for experimental and avant-garde filmmakers specifically, how has one’s home — due to the independent and low-budget nature of the job — operated as a site for work and creativity even before “work-from-home” was commonplace?
The inspiration for this screening also stems from my current life situation. I’m grateful to curate this program as I permanently relocate from Connecticut to New York City — leaving one home behind to build another home here.”
—Matt McKinzie
PROGRAM
Peace O’ Mind (1983), Directed by Mary Filippo; 16mm, B&W, sound, 8.5 minutes
An Avant-Garde Home Movie (1961), Directed by Stan Brakhage; 16mm, color, silent, 3.5 minutes
Still Life with Woman and Four Objects (1986), Directed by Lynne Sachs; 16mm, B&W, sound, 4 minutes
Home (1975), Directed by Dan Perz; 16mm, color, sound, 7 minutes
Domicile (1977), Directed by Gary Doberman; 16mm, color, silent, 9 minutes
Meshes of the Afternoon (1943), Directed by Maya Deren; 16mm, B&W, sound, 14 minutes
Windows in the Kitchen (1983), Directed by Elaine Summers; 16mm, color, sound, 12 minutes
Window Work (2000), Directed by Lynne Sachs; Video, color, sound, 9 minutes
Open Eyes in Shadow Series: Domestic Notes (2019), Directed by Rrose Present; Digital, color, sound, 4.5 minutes
RESET ME/Dirty Clothes Are Washed At Home (2017), Directed by Rrose Present; Digital, color, sound, 2 minutes
Kitchen (2020), Directed by Michael Siporin Levine; Digital, color, sound, 8 minutes