DIRECTED BY Trinh T. Minh-ha and Lynne Sachs with Barbara Hammer
A film from the Walker’s Ruben/Bentson Moving Image Collection is paired with a contemporary work that is not in the collection. The two works resonate with timeless, conceptual connections.
Whose film is it? Contemporary artists Trinh T. Minh-ha, Lynne Sachs, and the late Barbara Hammer address various forms of truth-telling and collaboration in cinema. Minh-ha challenges traditional ethnographic films, drawing attention to ways they are conspicuously shaped by the storyteller’s colonial standpoint. Sachs and Hammer elevate the possibility of shared authorship by conceiving a film shaped by Sachs’s vision of Hammer’s material.
Screening right here for free beginning at 10 am (CDT) April 20 until May 4.
MUBI, the go-to film subscription service, has revealed their list of films for March. The list includes Notturno (2020), a superb documentary by the award-winning filmmaker Gianfranco Rosi. To accompany Notturno, MUBI will also stream Rosi’s Boatman (1993), Below Sea Level (2008), and El Sicario, Room 164 (2010).
March for MUBI will also include Chloé Zhao’s debut film Songs My Brothers Taught Me. Whilst also adding two films, The Girl (1968) and Binding Sentiments (1969), by feminist Hungarian director Márta Mészáros who is celebrating her 90th birthday this year.
The current list of films on MUBI in March 2021.
1 March | The Imperialists are Still Alive! | Zeina Durra
2 March | Chinese Puzzle | Cédric Klapisch | The Spanish Apartment Trilogy
3 March | Inflatable Sex Doll of The Wastelands | Atsushi Yamatoya | Keiko Sato: Pinku Maverick
aemi’s second Year in Review programme continues to wrestle with the impact and consequences of this particular moment in time while also showcasing some of the best international artist moving image works that have helped sustain us through a period of profound change. The films in both Year in Review programmes evolve thematically; where the first programme largely dealt with a more singular psychological space: pursuits of personal development often pointing to stimulation and isolation survival tactics, Programme 2 suggests some pathways to a future defined by collective forms of participation.
We begin then with Onyeka Igwe’s No Archive Can Restore You effectively interlinking concerns common to the two programmes. Several of the films in this programme speak to the potential of spaces that connect people, considering also the roles of interlinking past and present communities within these spaces, and the future value and affect of culture developing within these environments. Music also continues to play a significant part in this programme, however the emphasis now is on highlighting togetherness through creativity and publicness, and through shared experiences of political resistance, intent and play.
This programme is available in the Republic of Ireland
A special thank you to LUX, London, and to Video Data Bank at the School of the Art Institute of Chicago vdb.org, supporting partner of this screening
Works featured No Archive Can Restore You – Onyeka Igwe (2020, 5 min 54 sec) A Month of Single Frames – Lynne Sachs with and for Barbara Hammer (2019, 14 min) Lore – Sky Hopinka (2019, 10 min 16 sec) Queering di Teknolojik – Timothy Smith (2019, 8 min 30 sec) Seize Control of the Taj Mahal – Glenn Belverio (1991, 12 min) Here is the Imagination of the Black Radical – Rhea Storr (2020, 11 min) They Parlaient Idéale – Laure Prouvost (2019, 28 min 30 sec)
about aemi on demand aemi-on-demand is an online platform through which aemi makes curated programmes of experimental film and artist moving image work available to Irish audiences. This initiative increases and diversifies access to aemi programming and guarantees artists’ revenue for their work outside the context of in-person events. Programmes on aemi-on-demand will remain live for a fixed duration on a long-term basis, thereby giving audiences the time necessary to engage with a rich variety of content.
Kino Rebelde has created a retrospective that traces a delicate line connecting intimacy, power relations, violence, memory, migration, desire, love, and war in Lynne’s films. By looking at each of these works, we can see a director facing her own fears and contradictions, as well as her sense of friendship and motherhood. Moving from idea to emotion and back again, our retrospective takes us on a journey through Sachs’ life as a filmmaker, beginning in 1986 and moving all the way to the present.
With the intention of allowing her work to cross boundaries, to interpret and to inquire into her distinctive mode of engaging with the camera as an apparatus for expression, we are delighted to present 37 films that comprise the complete filmmography, so far, of Lynne Sachs as visual artist and filmmaker. Regardless of the passage of time, these works continue to be extremely contemporary, coherent and radical in their artistic conception.
About Kino Rebelde
Kino Rebelde is a Sales and Festival Distribution Agency created by María Vera in early 2017. Its exclusively dedicated to promotion of non-fiction cinema, hybrid narratives and experimental.
Based on the creative distribution of few titles by year, Kino Rebelde established itself as a “boutique agency”, working on a specialized strategy for each film, within its own characteristics, market potential, niches and formal and alternative windows.
This company supports short, medium and long feature films, from any country, with linear or non-linear narratives. They can be in development or WIP, preferably in the editing stage.
The focus: author point of view, pulse of stories, chaos, risk, more questions, less answers, aesthetic and politic transgression, empathy, identities, desires and memory.
Kino Rebelde was born in Madrid, but as its films, this is a nomadic project. In the last years María has been living in Lisbon, Belgrade and Hanoi and she’ll keep moving around.
About María Vera
Festival Distributor and Sales Agent born in Argentina. Founder of Kino Rebelde, a company focused on creative distribution of non-fiction, experimental and hybrid narratives.
Her films have been selected and awarded in festivals as Berlinale, IFFR Rotterdam, IDFA, Visions Du Réel, New York FF, Hot Docs, Jeonju IFF, Sheffield Doc/Fest, Sarajevo FF, Doclisboa and Viennale, among others.
María has a background as producer of socio-political and human rights contents as well as a film curator.Envelope
Lynne Sachs (1961) is an American filmmaker and poet living in Brooklyn, New York. Her moving image work ranges from documentaries, to essay films, to experimental shorts, to hybrid live performances.
Working from a feminist perspective, Lynne weaves together social criticism with personal subjectivity. Her films embrace a radical use of archives, performance and intricate sound work. Between 2013 and 2020, she collaborated with renowned musician and sound artist Stephen Vitiello on five films.
Strongly committed to a dialogue between cinematic theory and practice, she searches for a rigorous play between image and sound, pushing the visual and aural textures in each new project.
Between 1994 and 2009, Lynne directed five essay films that took her to Vietnam, Bosnia, Israel, Italy and Germany – sites affected by international war – where she looked at the space between a community’s collective memory and her own perception.
Over the course of her career, she has worked closely with film artists Craig Baldwin, Bruce Conner, Ernie Gehr, Barbara Hammer, Chris Marker, Gunvor Nelson, and Trinh T. Min-ha.
“This is not a portrait,” states Lynne Sachs, near the end of Film About a Father Who, after the last in a string of revelations. “This is not a self-portrait. This is my reckoning with the conundrum of our asymmetry.” Shot on a procession of film and video formats from 1965 though 2019, Sachs’ fascinating new film isn’t therapy, either.
Sachs studied and made films in San Francisco from the mid-’80s through the mid-’90s, bridging the experimental film and documentary worlds. Several of her pioneering works from that period, including The House of Science: a museum of false facts (1991), are included in the Roxie’s accompanying shorts program “Inquiries Into Self and Others.” A second collection, “Profiles in Courage,” showcases Sachs’ recent work, including A Month of Single Frames (for Barbara Hammer).
Sachs’s films are, generally, intentionally unpolished, willfully undercutting the popular presumption that the job of documentaries is to provide answers. Film About a Father Who excavates her (now-elderly) dad’s messy, lifelong love life through a pastiche of loose ends, unanswered questions and unresolved emotions. The film imperceptibly gets deeper and darker as it goes, ultimately amassing the power of an indictment.
Svetlana Cvetko lives in L.A. and shoots all over the world, but her roots as a filmmaker are in the Bay Area. After gravitating to San Francisco from the former Yugoslavia several years ago, Cvetko took film classes and turned her eye from photography to cinematography. She was a quick study, making narrative shorts while shooting local docs like Charles Ferguson’s Oscar-winning Inside Job, Jacob Kornbluth’s Inequality for All and Jason Cohen’s Silicon Cowboys.
Cvetko’s wonderful and wise second feature as a director, Show Me What You Got, is infused with an L.A. vibe filtered through the French New Wave. Shot by Cvetko in joyous, handheld black-and-white, the movie depicts a ménage à trois between a barista-slash-artist (Cristina Rambaldi), the son of an Italian TV soaps star (Mattia Minasi) and a would-be actor (Neyssan Falahi) postponing his return to Tehran.
A seductive yet mature study of love, freedom and responsibility, Show Me What You Got returns for a virtual run after screening at the Mill Valley Film Festival in 2019. Play dates are limited, so hurry and schedule your play date (pun intended).
Film festivals continue to test and tweak virtual models, trying to conjure the group experience of live screenings and the connective threads of community. The first is a hard nut for anyone—even Sundance—to crack. This year’s SF Urban Film Fest, though, has mastered the second challenge, of bringing people together online to brainstorm on issues and seed solutions.
The theme of this year’s edition is “Wisdom Lives in Places,” which evokes the street-level experience and expertise on offer in the films as well as the accompanying panel discussions. The program “People-Led Solutions: Models of our Shared Future” centers on evictions and homelessness and features local filmmaker Irene Gustafson’s collaboration with the Tenderloin ensemble Skywatchers, reimagining the city, as our own. An inspiring group of activists and advocates convenes after the film program.
Who can resist an event called “Times Like These: An Inflection Point for Food & Our Cities”? The film component includes Aaron Lim, Anson Ho’s uplifting short doc about a young man doing his part and more to keep Chinatown restaurants going through the pandemic. The diverse group talking turkey following the films includes La Cocina Program Director Geetika Agrawal. Bring your wisdom; join the conversation.
Fresh from her early 2021 retrospective at New York City’s Museum of the Moving Image, filmmaker Lynne Sachs returns to San Francisco where she lived and went to school (SFSU & SFAI) between 1985 and ‘95. It was here that Lynne really immersed herself in our city’s experimental and documentary community, working closely with local artists Craig Baldwin, Bruce Conner, Barbara Hammer, Gunvor Nelson and Trinh T. Minh-ha and spending time at the Film Arts Foundation (RIP), Canyon Cinema, SF Cinematheque, and Other Cinema.
“For more than thirty years, artist Lynne Sachs has constructed short, bold mid-length, and feature films incorporating elements of the essay film, collage, performance, and observational documentary. Her highly self-reflexive films have variously explored the relations between the body, camera, and the materiality of film itself; histories of personal, social, and political conflict; marginalized communities and their labor; and her own family life, slipping seamlessly between modes, from documentary essays to diaristic shorts.” – Edo Choi, Assistant Curator of Film, Museum of the Moving Image.
Accompanying our Bay Area premiere of Sachs’s Film About a Father Who, the Roxie offers two accompanying shorts sidebars programmed by filmmaker and Other Cinema curator Craig Baldwin.
Over a period of 35 years between 1984 and 2019, filmmaker Lynne Sachs shot 8 and 16mm film, videotape and digital images of her father, Ira Sachs Sr., a bon vivant and pioneering businessman from Park City, Utah. Film About a Father Who is her attempt to understand the web that connects a child to her parent and a sister to her siblings. With a nod to the Cubist renderings of a face, Sachs’ cinematic exploration of her father offers simultaneous, sometimes contradictory, views of one seemingly unknowable man who is publicly the uninhibited center of the frame yet privately ensconced in secrets. In the process, Sachs allows herself and her audience inside to see beyond the surface of the skin, the projected reality. As the startling facts mount, Sachs as a daughter discovers more about her father than she had ever hoped to reveal. (74 min., 2020, A Cinema Guild Release)
Critic’s Pick! “[A] brisk, prismatic and richly psychodramatic family portrait.” – Ben Kenigsberg, The New York Times
“Sachs achieves a poetic resignation about unknowability inside families, and the hidden roots never explained from looking at a family tree.” – Robert Abele, Los Angeles Times
“Formidable in its candor and ambition.” – Jonathan Romney, Screen International
Tickets for FILM ABOUT A FATHER WHO will be available on February 12
SACHS SHORTS SIDEBARS
Sidebar 1: INQUIRIES INTO SELF AND OTHER
Still from “The House of Science: a museum of false facts”
Still Life with Woman and Four Objects (4 min., 1986) Sermons and Sacred Pictures (29 min., 1989) The House of Science: a museum of false facts (30 min., 1991) Which Way Is East: Notebooks from Vietnam (made with Dana Sachs) (33 min., 1994)
“As sidebar to her fresh Father feature, here is the first of two shorts programs, showcasing the astonishing cinematic artistry of Lynne Sachs…all made during her san fran years and recently digitally restored. Her ‘89 Sermons offers an early glimmer of her sensitivity to both marginalized communities and their archives, as she gracefully threads ultra-rare ‘30s & ’40s footage from Rev. LO Taylor into a tapestry of visibility and respect for Memphis’ Black community. Her facility for celluloid extrapolation is demonstrated in even more creative ways in House of Science, a personal essay on female identity, told through found footage, poetic text, and playful experimental technique. Which Way is East raises its eyes to engagements in international waters, and to insightful exchanges with her expat sister Dana, towards new understandings of and in the oh-so-historically charged Republic of Vietnam. Opening is Lynne’s first ever 16mm, Still Life.” – CB
TRT: 96 min.
Tickets for Sidebar 1: INQUIRIES INTO SELF AND OTHER will be available on February 12
Sidebar 2: PROFILES IN COURAGE
A Month of Single Frames (for Barbara Hammer) (14 min., 2019) Investigation of a Flame (45 min., 2001) And Then We Marched (4 min., 2017) The Washing Society (co-directed with Lizzie Olesker) (44 min., 2018)
“Characteristically, Sachs speaks in first person to cultural difference and dissent, here particularly valorizing acts of resistance and struggles for justice. Her collaboration with the recently deceased lesbian maker Barbara Hammer keynotes this ‘Solidarity’ set, with Lynne literally framing/finishing her mentor’s last project. Younger allies are also acknowledged in Sachs’ inspiring 2017 celebration of women’s political power on contested Washington, DC turf. The 2001 Investigation is a tribute to the courage and conscience of the epochal Berrigan-led burning of Baltimore draft records, made while Sachs was teaching in that town. And the local debut of The Washing Society, produced with playwright Lizzie Olesker, stakes their support of NYC’s low-paid laundry workers—mostly women of color—in even another radiant illumination of the little-seen truths of contemporary race/class inequity.” – CB
TRT: 107 min.
Tickets for Sidebar 2: PROFILES IN COURAGE will be available on February 12
A conversation with the US filmmaker Lynne Sachs about the importance of the autobiographical in her films
From the beginning of your career as an artist and filmmaker you were in one way or another present in your films: as a body, as a voice, or with certain‚ chapters’ of your own (family) history. Why was this personal or autobiographical approach important to you, why is it still relevant?
Presence in a film comes in a variety of forms. When I used to cut the actual film footage with a guillotine splicer, I felt that my finger prints on the celluloid were the beginning of my engagement with both the celluloid material and the moment that it signified through the images I had collected with my camera. Of course, that haptic connection has now disappeared with the intervention of the digital. Still, in our current time, every image or sound that you collect, be it your own or a found one, is a document of a thought. During the first decade of my filmmaking practice, almost every film I made included some image of my own body, sometimes clothed, sometimes not. It almost became a joke in my family. ”Oh, there she is again!” But, for me, this was a way to subvert the subject/object paradigm of the camera. I needed to flow back and forth, as if through the mechanism of the lens itself. The presence of my body paralleled the presence of my words, whether experienced aurally as voice-over or on the screen through my hand-written gesture. Today, we all recognize the inundation of media in our lives. With the sensation of feeling this material as either an assault or caress (depending on your mood as you scroll through your cell phone just before going to sleep at night), each of us must find a way to register awareness and critique.
Although you choose a personal approach, you represent yourself (and others) more in a fragmented way than as ‚authentic’ characters. What is the idea behind this?
Seeing my work through your eyes is a revelation, actually. I would not have articulated my approach this way, and yet I completely agree with your assessment. I have never identified with storytelling and, in turn, the effort to create a character. This homage to narrative tradition I find reductive and limiting, in the same way that I would find writing a conventional feature film script to be deeply restrictive. One of the words I despise most in today’s parlance is the word “template”. When I discovered that there are templates for writing feature film screenplays, I felt like weeping. When one uses the word “personal” to describe their work, I think they are claiming ownership for all aspects of the creative process, from the structure to the content. Yes, I do feel an affinity for a more fragmented depiction of another person because I want to make clear that my ability to understand is determined by my point of view. These fissures give someone watching the film the possibility of providing the glue, the connections, the linkages that always circle back to their own life experiences.
How do you deal with the double position of being the author and the figure of your films at the same time?
Sometimes I make films that are very clearly an outgrowth of my own identity as a white Jewish woman born in the United States in 1961. I can’t change any of that and I can’t simply hide one part and flaunt another. Other times, I make films that don’t make those ingredients so apparent, even though they are always there. Even when my voice, my writing or my body are not there, we all know that my position is influencing every decision I make, how person is framed, how a sound is heard, which music is included, which images are given the space to thrive and which are punished for their very existence.
When speaking about her autifictional novel The Cost of Living, the British writer Deborah Levy characterized her literary (female) subject as a person who is not herself, but who is ‚close’ to her. Who are you in your films?
Deborah Levy’s sense of her own presence in her work is very intriguing, even candid. This reminds of a cultural theory observation by filmmaker, poet and teacher Trinh T. Minh-ha in her essay “Speaking Nearby” (1992) which I quote here:
“There is not much, in the kind of education we receive here in the West, that emphasizes or even recognizes the importance of constantly having contact with what is actually within ourselves, or of understanding a structure from within ourselves. The tendency is always to relate to a situation or to an object as if it is only outside of oneself. Whereas elsewhere, in Vietnam, or in other Asian and African cultures for example, one often learns to “know the world inwardly,” so that the deeper we go into ourselves, the wider we go into society.”
Trinh was a professor of mine in graduate school. I am convinced that her practice of transposing her understanding of herself to her earnest, but always recognizably incomplete, effort to project on others had an enormous impact on my work.
In your films about family members like your father in Film About a Father Who (2020) or The Last Happy Day (2009), which tells of a distant cousin of yours, you sometimes seem to dissolve as the authorial voice, or to put it another way, you pass on your voice – for example to your siblings or children. Is this also a form of giving up some of the power that one has as a narrative authority?
Hmmmm. This makes me think very hard about my process. That’s what a good interview does. Thank you for giving me this chance to be introspective. On one level, I am very committed to a non-hierarchical way of working, one that does not privilege my perspective over another person’s. On another level, perhaps I am ashamed of expressing my thoughts or feelings in a singular voice so I depend on others to prop me up. Both of these films are part of a triptych of films, the third of which is States of UnBelonging (2005). The intention with this three-part endeavor was to grapple with the ways we can and cannot understand another human being. States of UnBelonging looks at a woman in Israel-Palestine who was total stranger to me. The Last Happy Day is a fragmented portrait of a distance relative, so one degree closer, in a way, to me. Film About a Father Who is, obviously, about my dad. That was supposed to be the easiest, and ultimately it was the most difficult. Closeness and intimacy somehow became an obstacle. I end up relying on others to give me clarity.
In A Month of Single Frames, your film with images, sounds and notes by the now deceased experimental filmmaker Barbara Hammer, I was very taken with your expanding the First Person Singular. What gave you the idea of this grammatical shift?
Oh, I am thrilled to be talking about voice, language and grammar all in one question. In A Month of Single Frames I decided that I would use the expanded Second Person that includes an ambiguous “you”. It could be the “you” that we usually find in a correspondence with another person. Or, it could be the “you” that embraces all of us in one sweeping address. When I write the word you, the viewer might think I am talking to Barbara Hammer, who is no longer alive but through cinema can be included in this dialogue. Or, the viewer may feel that I am addressing them. It’s kind of wonderfully unclear, which might be an accident or might be intentional. I will never tell.
This is how I see you. This is how you see yourself.
You are here. I am here with you.
This place is still this place. This place is no longer this place. It must be different.
You are alone. I am here with you in this film. There are others here with us. We are all together.
Time less yours mine
(On Screen text by Lynne Sachs from A Month of Single Frames)
For some time, personal or autobiographical narratives are strongly present in documentary filmmaking. How would you explain the strong interest in the personal in these times?
My interpretation of this current enthusiasm for the personal narrative has to do with our interest in knowing who is speaking to us. So much media in our lives is delivered to us without this clarity of positionality. We are forced to discern and to guess how who someone is affects what they are saying to us. Maybe it is refreshing to have this kind of transparency.
The American filmmaker Barbara Hammer, who died in 2019, was considered the grande dame of queer-feminist cinema. Her experimental documentary films, which deal with topics such as identity, sexuality and physicality, have shaped several generations of women filmmakers. Lukas Maurer visited her friend and collaborator, the director Lynne Sachs, in Brooklyn and had a conversation with her about the avant-garde icon as well as her “Tribute to Barbara Hammer”. For this obituary, Sachs used DYKETACTICS, OPTIC NERVE and VITAL SIGNS selected three exemplary films and combined them with the very personal obituary A MONTH OF SINGLE FRAMES.
In addition to top 2020 releases, we invited our friends and contributors to submit lists of 2020 “first viewings” and discoveries, broadly defined. Below, please find their wonderful, weird, and endlessly fascinating responses, along with their individual 2020 lists as applicable.
Here are the critics who listed it:
Film About a Father Who Portrait of a Lady on Fire (You’ll Make It In) Florida Losing Ground War and Peace (1968) House of Games How to Beat the High Cost of Living The Skin The Potluck and the Passion Cactus Flower Dry Summer Last Hurrah for Chivalry Wolfen Happy Go Lucky The Pilgrim (1923) The Big Country Benji In Heaven There Is No Beer? Under the Volcano How the West Was Won A Midwinter’s Tale (aka In the Bleak Midwinter) Grandma’s Boy (1922) Jack-o The Pruitt-Igoe Myth Great Expectations (1946) Images
CHRIS SHIELDS Babyteeth Film About a Father Who Sonic the Hedgehog Portrait of a Lady on Fire
A MONTH OF SINGLE FRAMES is also listed:
1. Vitalina Varela (Pedro Costa)
2. Infinity Minus Infinity (The Otolith Group)
3. Circumstantial Pleasures (Lewis Klahr)
4. I’ve Been Afraid (Cecelia Condit)
5. A Month of Single Frames (Lynne Sachs)
6. Shirley (Josephine Decker)
7. Talking About Trees (Suhaib Gasmelbari)
8. Mangrove (Steve McQueen)
9. Dick Johnson Is Dead (Kirsten Johnsonn)
10. The Giverny Document (Ja’Tovia Gary)
From intimate meditations on nature’s healing and drug-induced becoming, to radical deconstructions of cinema, language and architecture, this programme showcases film’s potential to both abstract and interpret a chaotic world.
Whilst some makers experiment with form and format, disrupting the image itself through corrupted DCPs and violated stock, others look to articulate the political and personal, using film as a vessel for self-expression.
For this edition, we welcome back LSFF regulars Max Hattler (Collision) and Lynne Sachs (Carolee, Barbara, and Gunvor) with collaborative work “made with and for” Barbara Hammer, alongside new additions in collective Telcosystems (Louthings) and talents-to-watch Henny Woods and Nicky Chue. Programmed by Philip Ilson. 75′
This programme contains flashing images. Please note, the film A Month Of Single Frames can only be accessed by UK audiences at the request of the filmmaker.
TESTFILM #1 Telcosystems, 14’, 2020, Croatia Exploring the creative possibilities of the Digital Cinema Package (DCP) – the new global infrastructure for film projection in cinemas. Can one upset the default behavior of the DCP system, or is the system designed to exclude any possibility of human intervention?
THE PHILOSOPHY OF HORROR – PART I. Péter Lichter, Bori Máté, 8’, 2020, Hungary An abstract adaptation of Noël Carroll’s influential film theory book of the same title, using hand painted and decayed 35mm strips of classic slasher A Nightmare on Elm Street.
APPLEFIG Louise Ward Morris, 4’, 2020, United Kingdom A study of internet search algorithms’ potential to irreversibly alter how humans form meaning and understand concepts.
A MONTH OF SINGLE FRAMES Lynne Sachs, 14’, 2020, USA In 1998, filmmaker Barbara Hammer had a one month artist residency in Cape Cod, Massachusetts, with no running water or electricity. While there, she shot 16mm film with her Beaulieu camera, recorded sounds with her cassette recorder and kept a journal.
PLANT PORTALS: BREATH Nicky Chue, 4’, 2020, United Kingdom An experimental meditation on the unspoken history many queer and trans people of colour carry daily, connecting bumblebees, colonial trauma, alternate universes and the complicated concept of ‘rest’ to ask: can nature heal us?
GLF LSD Jordan Baseman, 13’, 2020, United Kingdom Narrated by Alan Wakeman, an early member of the Gay Liberation Front, discussing the connection between the GLF and LSD as an essential part of becoming.
ECHOES OF DIFFICULT CONVERSATIONS DURING LOCKDOWN Henny Woods, 5’, 2020, United Kingdom A recreation of uncomfortable conversations from its filmmaker’s past in a time when socialising is impossible.
SERIAL PARALLELS Max Hattler, 9’, 2020, Hong Kong Hong Kong’s signature architecture of horizon-eclipsing housing estates is reimagined as parallel rows of film strips.
CUT UP UP CUT Kristian Baughurst, 5’, 2020, United Kingdom An experimental visual poetry film created in response to the 2020 global pandemic and William S. Burroughs’ cut-up poem, Formed in The Stance.