On November 9, 10 and 11, 2021, the Art House Zinema in BilbaoArte will host ARCHIVOS VIVOS, a conference on contemporary documentary film based on domestic archives. The purpose is to outline what kind of autobiographical gaze emerges within a digital culture where personal memories acquire a multi-format kaleidoscopic materiality. The authors gathered here subvert the domestic archive with the intention of repairing the family history, building a space of autonomy for women, reflecting on the ephemeral nature of our digital identities or speculating on other possible futures.
Tuesday, November 9, 2021. 6:00 p.m.
FILM ABOUT A FATHER WHO Lynne Sachs, United States, 2020, 74 ‘, VOSE Premiere in Spain.
Virtual Discussion with the Director
Over a period of 35 years, director Lynne Sachs recorded tapes and digital images of her father, Ira Sachs Sr, a ‘bon vivant’ and pioneering entrepreneur from Park City, Utah. This documentary is her attempt to understand the network that connects a girl with her father and a sister with her peers.
SHORTS PROGRAM. Wednesday 10 November 2021. 6:00 p.m.
A COMUÑÓN DA MIÑA PRIMA ANDREA Brandán Cerviño, Spain, 2021, 13 ‘. Andrea has made her first communion. However, the ceremony lacks glamor. For Andrea, things without glitter are not things. The only problem is: Does this God exist?
9.32 Ignacio Losada, Argentina, 2019, 13 ‘. The cell phone is an extension of our life experience. The images that appear on our screens represent the future of our existence. Algorithms shelter us in a sea of images and news that construct us as subjects. Reflection in the face of what is presented to us is a political decision. What we see and how we build our own identity.
LA VEDA Paco Chavinet, Spain, 2018, 30 min. Halfway between the film essay and the video-souvenir, this story about family ties is framed. Using the images recorded on a cruise ship made by his parents, the author invokes a dystopian society where the problems of collective coexistence are solved by an algorithm and in which the prohibition of abortion is compensated by a law that allows parents to prosecute their children if at the age of 30 they have not met the expectations placed on them.
Thursday 11 November 2021.18: 00 hs
VIDEO BLUES Emma Tusell, Spain, 2019, 74 min.
+ In-person discussion with the director
Suggestive and mysterious images recorded with a domestic camera at the end of the 80s. Two voices, one female and the other male, discuss their meaning and do not seem to agree. Emma reviews her family history to try to piece together lives that are still a mystery to her. In this review you will face the ghosts of your past and make the viewer a voyeur accomplice of your privacy. But … who is that voice that confronts you and why will it end up being so important in this story?
Distributor Neon has announced its release plans for Apichatpong Weerasethakul’s Memoria: Playing only in theaters, Memoria will be “moving from city to city, theater to theater, week by week, playing in front of only one solitary audience at any given time.”
Tilda Swinton and George Mackay will be starring in the next film by Joshua Oppenheimer (The Act of Killing and The Look of Silence). Titled The End, the film has been described as a “a Golden Age musical about the last human family.”
Co-programmed by James Hansen & Eric Souther, Light Matter Festival is a new “moving-image art festival dedicated to experimental film and media arts.” Taking place in Alfred, New York, the festival will be screening films by Simon Liu, Mary Helena Clark, Lynne Sachs, and more.
Sylvester Stallone’s director’s cut of Rocky IV (1985) will be playing in theaters in the United States for one night only on November 11. The new cut includes 40 minutes of never-before-seen footage, and will be available on demand the following day, on the 12th.
RECOMMENDED VIEWING
A24’s official trailer for Sean Baker’s Red Rocket, which arrives in theaters this December. Simon Rex stars as a washed up former porn star who returns to his Texas hometown. Its delicious poster was illustrated by Steven Chorney and designed by GrandSon. Read Leonardo Goi’s review of the film here
The official trailer for Radu Jude’s Bad Luck Banging or Loony Porn, which won the Golden Bear at this year’s Berlinale. Read our review of the film by Ela Bittencourt here.
Zia Anger has directed a new music video for Mitski’s latest single, “Working for the Knife.” With cinematography by Ashley Conner, the video follows Mitski as she performs inside The Egg at the Empire State Plaza in Albany.
Ahead of the release of Shin Ultraman, a teaser has been released for Hideaki Anno’s Shin Kamen Rider. The film is a reboot of the 1971 Kamen Rider series, which tells the story of a young motorcyclist who is transformed into a cyborg by a terrorist organization.
RECOMMENDED READING
“Miami Vice seems to do everything wrong by genre standards, and yet manages to captivate us in a way that few others can.” Bilge Ebiri reappraises Michael Mann’s Miami Vice (which turns 15 this year), from its tender intimacy to its digital video cinematography.
For Reverse Shot, critic Michael Koresky investigates Gaspar Noé’s Vortex, and whether cinema is an apt enough art form for representing the effects of dementia.
In a conversation with Nick Newman for the Film Stage, Kiyoshi Kurosawa discussesWife of a Spy, being a fan of Clint Eastwood as an actor, and the Japanese studio system. Another excellent interview can be found at Asian Movie Pulse, where Kurosawa considers the divide between film and reality, piracy, and the new generation of Japanese filmmakers.
Carol Kane discusses the rerelease of Joan Micklin Silver’s feature debut Hester Street (1975), which starred Kane at the age of 23, and pushing away fame at a young age.
“The emphasis is on diversity and pluralism, not past and present sins. Call it a museum of good intentions.” Manohla Dargis of the New York Timesreflects on the opening of the new Academy Museum of Motion Pictures in Los Angeles.
RECENTLY ON THE NOTEBOOK
“Pino rides through these tunnels on his motorcycle as he’s leaving this plane of reality and entering forever into the history of art…” Walter Fasano introduces his film Pino, which is showing exclusively on MUBI in many countries.
In a foreword to Yevgenia Belorusets’s new book, Modern Animal, the British director Peter Greenaway offers 19 stories about animals big and small.
From NYFF, correspondent Peter Kim George reports on two new films: Joel Coen’s solo directed, dread-filled adaptation The Tragedy of Macbeth, and Gaspar Noé’s split-screened Vortex.
Lillian Crawford reflects on two documentaries, a new one by Charlotte Gainsbourg and a 1988 one by Agnès Varda, which explore the subject of the singer and actress Jane Birkin.
In his review of Julia Ducournau’s Palme d’Or winning Titane, Anthony Hawley considers the ways in which the film challenges the viewer to consider the path ahead, about “the future of our species.”
In an interview with Kelley Dong, Payal Kapadia discusses the making of her debut feature A Night of Knowing Nothing and the relationship between politics, love, and cinema.
Kelley Dong reports back from Toronto, which presented a weak, pared down pandemic-era edition that nevertheless had some highlights, including the latest by Terence Davies and Masaaki Yuasa.
Rachel Michelle Fernandes locates One Shot that encapsulates Claire Denis in her film U.S. Go Home.
To mark the arrival of Iván Zulueta’s Arrebato in America 4o years after its release, Elizabeth Horkley examines and uncovers the dark and banal truths at the heart of the film.
And THE HOUR OF LATERAL THINKING ON CANDY| October 10/11, midnight-1 am
CAT RADIO CAFÉ: FILMMAKERS LYNNE SACHS AND LIZZIE OLESKER ON THE WASHING \SOCIETY
On tonight’s show, we’ll be joined by filmmaker Lynne Sachs and theater and performance maker and labor organizer Lizzie Olesker to discuss their 2018 film, The Washing Society, and to celebrate the debut of eight of Lynne Sachs’s films on the prestigious list of Criterion Classics. The Criterion series relates to feminism, complicated parent-child relationships, female adolescence, Vietnam, the Holocaust and historic labor movements. Both The Washing Society and last year’s remarkable Film About a Father Who are among them.
Lynne Sachs’s cinematic works defy genre through the use of the essay film, collage, performance, documentary and poetry. Her films explore the intricate connection between personal observations and broader historical experiences. She has made 40 films which have screened at the Museum of Modern Art, Wexner Center, the Walker, the Getty, New York Film Festival and Sundance. In 2021, Edison Film Festival and Prismatic Ground Film Festival at Maysles Documentary Center awarded Sachs for her body of work. Her first book of poetry, “Year by Year Poems, was published by Tender Buttons Press in 2019. In 2020 and 2021, she taught film and poetry workshops at Beyond Baroque, Flowchart Foundation and Hunter.
Lizzie Olesker has been making theater and performances in New York City for several decades, reflecting on the politics and poetry of everyday experience. She’s created a series of solo pieces and plays around different aspects of domestic work, recently Infinite Miniatures (a solo piece with objects at a kitchen table) and Five Stages of Grief (a play starring a home care attendant and a ghost). Olesker’s first film, The Washing Society, which she co-directed with Lynne Sachs, grew out of their site-specific performance piece in New York City laundromats, Every Fold Matters. She teaches documentary theater at the New School and playwriting at NYU. She is also an organizer and adjunct representative with UAW Local 7902, and part of its movement to organize higher education and other professional workers.
Kristine Leschper, leader of the one-time Band To Watch Mothers, is striking out under her own name. Today, she’s releasing a solo single, “Figure And I,” a beguiling and smooth introduction to Leschper’s new venture. “For the first time, I used my hands to clap out a rhythm that spoke to me,” Leschper said in a statement, continuing:
I don’t have much experience with percussion, so I was thrilled by the ease and accessibility of using hands as an instrument. It’s such a long-standing and fundamental way of making sound in folk traditions around the world, and to use it makes me feel rooted in a deeper sense of time. As a poet, too, I hold an enthusiasm for the symbolism of hands, as a symbol of work, of community or offering, of holding and being held.
Watch a video for the song directed by Lynne Sachs below.
Singer/songwriter Kristine Leschper led Mothers for eight years (their most recent LP was 2018’s Render Another Ugly Method), but she’s now retired the moniker and shared her first single under her own name, “Figure And I,” via ANTI-. “For the first time, I used my hands to clap out a rhythm that spoke to me,” she says. “I don’t have much experience with percussion, so I was thrilled by the ease and accessibility of using hands as an instrument. It’s such a long-standing and fundamental way of making sound in folk traditions around the world, and to use it makes me feel rooted in a deeper sense of time. As a poet, too, I hold an enthusiasm for the symbolism of hands, as a symbol of work, of community or offering, or holding and being held.”
Lynne Sachs directed the accompanying video, which you can watch below. “Kristine Leschper wrote to me with a very intriguing proposition: create a short film in response to her song ‘Figure and I,'” Lynne says. “I knew that this deeply rhythmic two-minute song needed some kind of somatic imagery. I needed to move with my body and my camera as I was shooting it. A few days later, I went to ‘The New Woman Behind the Camera’ exhibition at the Metropolitan Museum of Art in New York City. In this show, I saw two photos by two women photographers from the 1920s whose work I had never seen before. These images guided me to a way of interpreting the physicality and the intimacy of Kristine’s song. Soon afterward, I invited my friend Kim Wilberforce to be in my film and to interpret the song herself, through her vibrant wardrobe and her precise, ecstatic clapping gestures.”
Kristine Leschper shares a video for her new single “Figure And I.” Having retired the moniker Mothers after eight years of performing and releasing music under it, “Figure And I” marks Leschper’s first release under her given name, and first for ANTI- Records.
Though both Mothers and her solo work are guided by Leschper’s idiosyncratic approach to songwriting, they couldn’t sound more different. While Mothers drew inspiration from the stark, skeletal sounds of post-punk and contemporary folk, Leschper’s new work is practically baroque, integrating an array of synthesizers, strings, woodwinds, and over a dozen percussive instruments.
“For the first time, I used my hands to clap out a rhythm that spoke to me. I don’t have much experience with percussion, so I was thrilled by the ease and accessibility of using hands as an instrument,” Leschper said in a statement. “It’s such a long-standing and fundamental way of making sound in folk traditions around the world, and to use it makes me feel rooted in a deeper sense of time. As a poet, too, I hold an enthusiasm for the symbolism of hands, as a symbol of work, of community or offering, or holding and being held.”
Singer-songwriter Kristine Leschper wrote to me with a very intriguing proposition: create a short film in response to her song “Figure and I”. I knew that this deeply rhythmic two-minute song called for some kind of somatic imagery. I needed to move with my body and my camera as I was shooting it. A few days later, I went to “The New Woman Behind the Camera” exhibition at the Metropolitan Museum of Art in New York City. In this show, I saw two photos by two women photographers from the 1920s whose work I had never seen before. These images guided me to a way of interpreting the physicality and the intimacy of Kristine’s song. Soon afterward, I invited my friend Kim Wilberforce to be in my film and to interpret the song herself, through her vibrant wardrobe and her precise, ecstatic clapping gestures.
Singer/songwriter Kristine Leschper led Mothers for eight years (their most recent LP was 2018’s Render Another Ugly Method), but she’s now retired the moniker and shared her first single under her own name, “Figure And I,” via ANTI-. “For the first time, I used my hands to clap out a rhythm that spoke to me,” she says. “I don’t have much experience with percussion, so I was thrilled by the ease and accessibility of using hands as an instrument. It’s such a long-standing and fundamental way of making sound in folk traditions around the world, and to use it makes me feel rooted in a deeper sense of time. As a poet, too, I hold an enthusiasm for the symbolism of hands, as a symbol of work, of community or offering, or holding and being held.”
Screenings: National Gallery of Art (Washington, DC), Camera Lucida (Ecuador).
SYNOPSIS In E-pis-to-lar-y: letter to Jean Vigo, Lynne Sachs reflects on the delicate resonances between the 1933 classic Zero for Conduct in which a group of schoolchildren wage an anarchist rebellion against their authoritarian teachers.
Thinking about the insurrection of January 6, 2021 in the United States Capitol by right-wing protesters, Lynne Sachs wonders how innocent play or calculated protest can so quickly turn into chaos and violence?
DIRECTOR’S NOTE Every film I make is a reflection of ideas that infiltrate my mind, intertwined with my daily reality. I’m fascinated with the urge to disobey, with anarchic desires, and continually wondering how best to confront authority. It is in this deep ambivalence that I decide to make E-pis-to-lar-y: letter to Jean Vigo, a correspondence through cinema with Vigo, director of the exquisite Zero for Conduct, in a nod to irreverent and bad children behaviors. Making this movie gave me the opportunity to fight the horrors of January 6, 2021.
BIO Lynne Sachs (United States, Memphis, 1961) Filmmaker and poet living in NY. His work explores an intricate relationship between his personal observations and the extensive historical experience plotting together text, collage, painting, politics. Strongly engaged in a feminist dialogue between film theory and practice, she seeks a rigorous play between image and sound, reinforcing the aura and visual texture of her work in each project.
MANIFEST # 17FESTIFREAK
The world of the future bears little resemblance to our dystopian nightmares. There are fewer helpful automata than submissive humans. And it seems that hyperconnection dwarfed the world instead of enlarging it. The contact became a link.
The inner adventure of a year ago became normal. And doing the things that we liked was reduced to a memory. It took us a long time to get back to the theaters, but we did. This year, FestiFreak returns to common spaces, to the joint habitability of the place that always sheltered us and where the best fantasies are possible.
Although with the necessary public restrictions in the framework of the pandemic, FestiFreak will have functions at the INCAA Cine Select and Cine EcoSelect Spaces in La Plata, and also at the En Eso Somos Cultural Center. There we will find ourselves reversing the inertia of isolation and apathy that the virus brought. Taking care of the disease and enjoying the company of others, the unpredictable coexistence with other people, other looks and other worlds.
And we will continue in virtuality. The hybridization that began last year showed us that there is a wide audience out there that values the curatorship of the festival and the search for new ways of making films. That he is greedy and curious, like those of us who do FestiFreak, for films that leave the convention, that they exceed and that they experiment. They are more than we thought and they are far away. For them, and for those who cannot enter the room due to sanitary limits, our online programming will be available.
We will also expand into Europe again. This time with a special program co-produced with Filmhuis Cavia (Amsterdam) in direct connection with Argentina.
# 17FestiFreak will be held between October 1 and 17, 2021. It will have its national competitions, its international exhibition, its training space dedicated to audiovisual preservation, its expanded version and new ways of intervening and interacting with the cinematographic image in different formats. Whether in a room, virtually, with a projector or a magnetic tape as mediators, we were always on the screens. That was our place. As in a loop that has never stopped,
RECALL [REWIND] deals with the temporary absences of what has been and with practices of rendering invisible in the face of dominant image politics.
Video recordings of the demolition of the Eastman Kodak company complex in W O W (Kodak), played backwards several times in a row, reimagine the reconstruction of the former workplace. By means of a reenactment of excerpts from a French film with a colonial look, the autobiographical video Nou voix causes the unheard voices of French Guiana to be highlighted. The continuous experience of racism is the subject of This makes me want to predict the past, portraits of young people in the Olympia shopping center in Munich, where nine young people were murdered in a racist attack in 2016, accompanied by YouTube comments on Childish Gambino’s song “Redbone” . Dream-like sequences of Berber women roaming through rural landscapes oscillate in Chergui between memory and forgetting, between the presence and absence of the texture-rich space-time structure, assembled from archive material from the Tangiers Cinematheque. Impressions from everyday family life can only be perceived as ephemeral memory fragments in the gradually decomposed film material of film in the process of decay, which must be rearranged. What Time is Made of, on the other hand, takes up childhood memories which, as a message in a bottle in the form of a sealed film can, in which the traces of the sea have been drawn, have fictitiously survived for 30 years. Lynne Sachs approaches the filmmaker Barbara Hammer, who died shortly after the completion of the film, in A Month of Single Frames, a cinematic work in which the exploration of loneliness and the feeling for nuances go deep as a physical experience of cinema. Pointing out blind spots and stories in their current relevance in the current space of experience prompts a reassessment of the present and brings up strategies of talking back.
GERMAN : RECALL [REWIND] beschäftigt sich mit den temporären Abwesenheiten von Gewesenem und mit Praktiken des Unsichtbarmachens angesichts dominanter Bildpolitiken.
Mehrmals hintereinander rückwärts abgespielte Videoaufnahmen der Sprengung des Eastman Kodak Firmenkomplexes in W O W (Kodak) lässt den Wiederaufbau der einstigen Arbeitsstätte reimaginieren. Mittels Reenactment von Auszügen eines französischen Films mit kolonial geprägtem Blick veranlasst das autobiografische Video Nou voix das Hervorheben ungehörter Stimmen Französisch-Guyanas. Die kontinuierliche Erfahrung von Rassismus ist Thema in This makes me want to predict the past, von YouTube-Kommentaren zu Childish Gambinos Song »Redbone« begleitetes Porträts von Jugendlichen im Olympia-Einkaufszentrum in München, wo 2016 neun junge Menschen bei einem rassistischen Anschlag ermordet wurden. Traumartige Sequenzen von durch rurale Landschaften streifenden Berberfrauen oszillieren in Chergui zwischen Erinnerung und Vergessen, zwischen An- und Abwesenheiten des texturenreichen Raum-Zeit-Gefüges, montiert aus Archivmaterial der Kinemathek Tangiers. Eindrücke aus einem Familienalltag sind im sukzessive zersetzten Filmmaterial von Film im Zerfall nur mehr als ephemere Erinnerungsfragmente wahrnehmbar, die es neu anzuordnen gilt. What Time is Made of wiederum greift eigene Kindheitserinnerungen auf, die als Flaschenpost in Form einer versiegelten Filmdose, in welcher sich die Spuren des Meeres abgezeichnet haben, fiktiv 30 Jahre überdauert haben. Lynne Sachs nähert sich der kurz nach Fertigstellung des Films verstorbenen Filmemacherin Barbara Hammer in A Month of Single Frames an, eine filmische Arbeit, in der die Erkundung der Einsamkeit, das Gespür für Zwischentöne als körperliche Erfahrung von Kino tiefgeht. Das Aufzeigen blinder Flecken und Geschichte/n in ihrer aktuellen Relevanz im derzeitigen Erfahrungsraum veranlasst eine Neubewertung der Gegenwart und bringt Strategien des Talking Backs zur Sprache.
W O W (Kodak) Viktoria Schmid, 2018, 2 min A countdown, onlookers, then the view of thick dust clouds. An apocalyptic scene of destruction that reverses: the dust flows back into the center of the image, bits of debris put themselves together, a building erects itself. Five YouTube clips played backwards, five different perspectives – Viktoria Schmid’s commentary on film culture: analogue film is dead—long live analogue film! (Diagonale)
Nou voix Maxime Jean-Baptiste, 2018, 14:26 min Nou voix is an autobiographical video departing from the participation of the director’s father, as a Guyanese figurant in the movie Jean Galmot aventurier (1990), which deals with the history of French Guiana. By re-enacting a part of the film, Maxime and his father try to amplify other kinds of voices that have been unheard in the original French film.
This makes me want to predict the past Cana Bilir-Meier, 2020, 16:05 min This makes me want to predict the past accompanies two young women on their way through urban spaces of transit. In direct interaction with the camera, they reveal desires and fears, while the voice-over rattles handed-down structures. Munich 1982, 2016, and 2019: connecting the generations is one constant factor, the experience of racism. (Diagonale)
Chergui Chahine Fellahi, 2019, 4:59 min Chergui is a piece created using material from the Cinematheque of Tangiers’ archives. Through oneiric scenes of Berber women walking in the countryside, Chergui reflects on the ungraspable nature of memory as the images form and unform, following the oscillating rhythm between remembering and forgetting. In Chergui, the figures’ contours dissolve into the pixelated landscape. The moving bodies are recast within an incommensurable space-time dimension; they are there and not there, suspended between presence and absence.
Film im Zerfall Anonym, ca. 1965, 4 min (Exzerpt) Impressions of everyday family life, captured moments of the liveliness of the market, of vacation moods with a view of meadows and mountains, children splashing, playing and running. A family album as moving image sequences, which occasionally evoke memories, but which are successively decomposed. The material invites us to reconstruct these memory fragments and to imagine our own stories. The result is a narrative, adding a further layer on the moving image in decay. The film material – emulsion decomposed by mold – becomes visible in its longevity as an ephemeral element. From the collection of the Austrian Film Museum.
What Time is Made of Diana Vidrascu, 2019, 10 min What if you found a message in a bottle in the form of a sealed film can, which your younger self had sent 30 years ago? After processing this16mm film reel, I discovered that the sea had left its mark on the images and the film bears the memory of all the things it witnessed in its journey to land. However, these proved to be my own childhood memories. (Diana Vidrascu)
A Month of Single Frames Lynne Sachs (Made with and for Barbara Hammer), 2019, 14:08 min Filmmaker Lynne Sachs was invited by her longtime peer and friend, Barbara Hammer, to explore Hammer’s experience with solitude using the materials she created during a remote residency in 1998 in a shack without running water or electricity. Diagnosed with cancer, Hammer began her own process of dying in 2018. Sachs’ use of overlaid text confronts the relationship between body and screen, collapsing the walls between space and time.
Two female laundry workers are wearing floral aprons and standing against a wooden wall. From Lynne Sachs’ ‘The Washing Society.’ Courtesy of The Criterion Channel.
Screen Time is your curated weekly guide to excellent documentaries and nonfiction programs that you can watch at home.
At IDA, we deeply mourn the passing of Melvin Van Peebles, the “the godfather of modern Black cinema.” Van Peebles was an actor, poet, artist, filmmaker and playwright, among other things. Celebrate his humbling legacy with filmmaker Joe Angio’s How to Eat Your Watermelon in White Company (and Enjoy It)on Amazon Prime.
In Swimming Out Till the Sea Turns Blue, filmmaker Jia Zhangke speaks to three authors who, like Jia, all hail from China’s Shanxi province. Through their conversations and writings, the filmmaker reconstructs a portrait of his homeland from the prism of the 1950s social revolution and the unrest it brought along. Starting September 30, you can watch the film on Mubi.
Also playing on Mubi is Hannah Jayanti’s delightful science fiction documentary, Truth or Consequences. Taking off a fictional premise, the documentary takes place around the world’s first commercial Spaceport in New Mexico. Through its gaze set on a near future, the film unravels our histories and weaves them all with empathy and adventure.
Afro-Cuban musician brothers Ilmar and Aldo López-Gavilán grew up learning the violin and the piano—separated from one another; one in Russia and the other in Cuba. Los Hermanos, directed by Marcia Jarmel and Ken Schneider, follows the brothers as they collaborate (for the first time) and perform all across the US. The film is available to view on PBS starting October 1.
When filmmaker Sian-Pierre Regis’ mother, Rebecca, is let go from her job, Regis decides to take her on trips across the world. As the son helps take items off his mother’s bucket list, he reveals the dark underscoring of American society by ageism, the care crisis, and economic insecurity. Duty Free is a documentary that emerges out of the mother-son travels as Rebecca reclaims her life and dreams. Watch the film on Vimeo.
Familial relationships also form the core of many of Lynne Sachs’ experimental nonfiction works. Starting October 1, you can watch seven of her experimental shorts on Criterion Channel: Which Way Is East (1994), The Last Happy Day (2009), Wind in Our Hair (2010), The Washing Society (2018), Girl Is Presence (2020), E•pis•to•lar•y: Letter to Jean Vigo (2021), and Maya at 24 (2021).
