2018 FESTIVAL SCHEDULE
FRIDAY 7PM- LOCAL SHORTS (Runtime: 69min)
1. “Myelin” by Alexander Bickford (7:00, 2018, USA)
The diagnosis of disease.
2. “Evangelia C’est Moi” by Alison Folland (11:00, 2017, USA)
An essay on the joys and heartaches of a life of largesse, and the influence of film on lived reality. A fever dream of textile and landscape, framed by the text of Madame Bovary.
3.“Impact Reel (9 for Gil)” by Alex Sarabi-Daunais (2:00, 2018, USA)
A film memorial for my cousin consisting of images of athletics and X-ray. He was a man who loved Boston sports and who had many health problems. The linkage between impact sports and ill health is sadly an overshadowed by the entertainment of the games.
4. “The Being Who Fell from the Stars” by Jacob Padilla (22:08, 2017, USA)
An innocent alien crashes on Earth, bringing sound to a silent world.
5. “DIVIDED BY BLUE” by Eric Ko (8:29, 2017, USA)
Separation as an aside of life and love.
6. “Letters From Eniwetok” by Ed Carter (12:00, 2017, USA)
A woman who lives by the beach retrieves objects brought to her by the tide.
7. “μxμ” by Alex Sarabi-Daunais (7:09, 2018, USA)
A hand made film reflecting on growing up around a constant construction. The houses of my past and present always being in a perpetual state of renovation. The inability for myself to help my father. Watching him rip his joints apart from windows.
FRIDAY 9PM- EXPERIMENTAL SHORTS (Runtime: 68min)
1. “SDtoHDuprezMaxV2_009.mp4” by Anna Spence (4:00, 2017, USA)
Booted from the limelight, Max Headroom now roves the video signal on the search for meaning. Once summoned to the screen, he talks to the audience in hopes of remembering his past life. As we watch Max, (and as he continues to watch us), he begins to understand what it will take to escape from his purgatory.
2. “Native Elegance of the Soul, or like, whatever.” by Josh Wismans (4:32, 2017, USA)
Seek truth, but always be laughing under your breath. A poly-rhythmic deconstruction of binary thought. Born from a lysergic walk in the woods and a manual combination of the negative and workprint.
3. “601 Revir Drive” by Josh Weissbach (8:40, 2017, USA)
A series of spatial limits are defined while a maker imbibes. Interdependence is inherited after a substance cannot be shook. An animal carefully guards an outlined space as a river runs backwards.
4. “Last Night” by Stefano Miraglia (7:45, 2017, France)
Anoche is a study on the solidarity of distant - almost unrelated - elements, all of which come from my personal archives and were made in different times and places: a video of what I saw from a night bus in Rome in 2012, a sound recording I made in 2006 and a found photograph taken in Venice in the 30s. Blow-ups of the photograph are looped and superimposed. The loop filters the video and breaks, fragments the shapes of the night lights which were once so perfect. The movements of the fragmented shapes blend with the loud, distorted soundtrack, creating a new reality to experience. Perhaps an uncomfortable one, but definitely one that is more revealing.
5. “A Denial” by Natasha Woods (4:24, 2017, USA)
“A Denial” is a rhythmic collage that explores ideas of trauma and memory. Images sourced from 16 mm educational films and vintage stag films are appropriated into new situations, considering ideas of movement, tension and hesitation. Loop printing, scratching, and textual interventions push toward an alternative cinematic meaning, posing questions of comfort and belonging.
6. “Trigger Warning” by Scott Fitzpatrick (5:00, 2017, Canada)
An examination of everyday household objects based on a list published in the December, 2016 issue of Harper's Magazine, shot on a camera shaped like a gun.
7. “Laura” by Tânia Dinis (10:30, 2017, Portugal)
Laura is an essay film whose inception began from a project of research and collection of familial photographical archives. It departs from the exploration of the notion of images as bygone experiences in time which, from that timelessness, expand in space, thus creating small narrative moments.
8. “Mahogany Too” by Akosua Adoma Owusu (3:33, 2018, USA)
Inspired by Nollywood’s distinct re-imagining in the form of sequels, Mahogany Too, interprets the 1975 cult classic, Mahogany, a fashion-infused romantic drama. Starring Nigerian actress Esosa E., Mahogany Too, examines and revives Diana Ross’ iconic portrayal of Tracy Chambers, a determined and energetic African-American woman enduring racial disparities while pursuing her dreams. Mahogany Too uses analog film to achieve its vintage tones which emphasizes the essence of the character, re-creating Tracy’s qualities through fashion, modeling, and styling.
9. “XCTRY” by Bill Brown (6:18, 2018, USA)
Leaving one hometown and looking for the next one.
10. “Farewell Transmission” by Mike Rollo (14:00, 2017, USA)
The Canadian Broadcasting Corporation opened the doors of the CBK Transmitter Station in 1939 to serve the prairie region of Canada. Farewell Transmission is equal parts indexical record of the demolition of CBK in 2015 and subjective response to the residual media documenting the event. The building is framed with tension preceding its destruction: emulsion pulsates as if with decades of radio transmission, creating an unsettled eulogy for a cultural institution.
SATURDAY 2PM: DOCUMENTARY SHORTS (Runtime: 65min)
1. “Bite” by Adriana Barbosa (25:00, 2017, Brazil)
“Bite” is a filmic reverie in homage to the writer-gravedigger Tico, who in a marginal life, searches for an aesthetic and political inspiration. A cinematic response to the written words, a filmic reverie about the reflections brought up by the character. Thus, "Bite" is also a film about memory, which brings to the fore not only the agonizing trajectories of remembering, but also its political force, of resistance, which insists on reinventing everyday life and seeking lost senses.
2. “Empty Nightclub” by Ben Edelberg (7:32, 2017, Canada)
"Empty Nightclub” is a maze of urban streets, dark corridors and dance floors. The video weaves scenes from Orlando, San Francisco, New York, Chicago and Toronto to take the viewer on a mysterious journey. Are we looking for the party or are we desperately searching for the exit?
3. “.TV” by G. Anthony Svatek (22:05, 2017, USA)
“.TV” is a found footage essay film: Voicemails left by an anonymous caller from the future guide us to the remote islands of Tuvalu, a place the global media has described as “the first country to disappear due to rising sea levels”. Surrounded by thousands of miles of open water, much of Tuvalu’s revenue comes from its country-code web extension .TV, a popular domain choice among global video-streaming and television industries. The caller describes how heat, digital screens, and distance gave him no choice but to leave his sinking home and escape into cyberspace where rising waters will never reach him.
4. “All The Leaves Are Brown” by Daniel Robin (11:00, 2017, USA)
A short film about memory, loss, family, and a sugar maple tree.
SATURDAY 4PM: NARRATIVE FEATURE (Runtime: 88min)
1. “Blows With The Wind” by Hazhir As’adi (6:30, 2017, Iran)
2. “Kupal” by Kazem Mollaie (1hr 21min, 2017, Iran)
“Kupal” is the story of a hunter and a taxidermist, called “Dr. Ahmad Kupal”. On the last day of the year, moments before the turn of the year, he faces an unexpected challenge.
SATURDAY 7PM: EXPERIMENTAL SHORTS (Runtime: 71min)
1. “FUTURE LIGHT (2021)” by Karissa Hahn (6:20, 2018, USA)
the year 2021 - handmade/inkjet printed precisely to the coordinates over Los Angeles - experience the course of a year in 24 frames for 24 hours of the day.
darkness - dawn- day - dusk- darkness - dawn - day - dusk - darkness….
2. “165708” by Josephine Massarella (7:00, 2017, USA)
Shot entirely in 16mm black and white film using single frame photography, 165708 employs in-camera techniques and chemical manipulation of processed film to produce an eidetic study of temporal elasticity. Exploring the capacity of the medium to express various notions of time, the film begins with a woman looking out from the shoreline. This acts as a point of departure to disparate yet interconnected sequences which prompt the viewer to engage in a structurally unique mode of inquiry and experience. A dynamic original score by the acclaimed composer Graham Stewart accompanies the film.
3. “Archeopsychic Time Zones” by Georg Koszulinski (5:06, 2017, USA)
Multiple time zones converge in the deserts of New Mexico--Pre-Columbian petroglyphs & Indigenous cave dwellings, post-war highways, Spanish colonial remnants, and the deserts of ancient past and post-apocalyptic future coalesce into single image stream.
4. “And By The Night” by Anna Kipervaser (9:45, 2017, USA)
After a period of no revelations, Surah al-Duha was revealed to Prophet Muhammad, stating that God had neither forsaken nor forgotten him. And to be patient. The film is also a response to my abortion.
5. “The Ghost Behind” by Carline Rumley (12:06, 2018, USA)
Four Friends. Many bands. Expectations. Addiction. Loss.
6. “Sky Room” by Marianna Milhorat (5:55, 2017, USA)
Someone is missing. Plants grow, but at what cost? Technology threatens and seduces as humans attempt to solve a mystery through telepathy and mirrors. Stainless steel and broken glass strewn about an intergalactic discotheque.
7. “Helios” by Eric Stewart (5:02, 2017, USA)
Time-lapses of cacti and succulent over the course of a year. Environmental data drives the tone and filtration of the sounds while the rising and setting of the sun illuminates plant growth in and out phase with each other.
8. “The Open Window” by Lynne Siefert (7:00, 2017, USA)
Like restless, waiting missiles, towering pillars of industrial machinery send us to desolate lunar surfaces.
9. “In Film/On Video” by Ignacio Tamarit (3:30, 2018, Argentina)
Can film and video coexist in the same film? Here, 16 mm film and VHS video tapes need each other in order to exist. Thanks to the transparent clear leader of 16 mm acetate film, we can visualize in movement the materiality of the analog video support, glued on top of the film, serving as skeleton and structure of the vhs tapes intervened. A film? A video? Both and none at the same time…
10. “Great Dismal Swamp” by Jason Sudak (10:00, 2017, USA)
Contact and underwater microphones are combined with 16mm film to portray the landscape of the Great Dismal Swamp.
Once upon a time, George Washington drained it. Then it became the largest refuge for escaped slaves in the US. Edgar Allen Poe hung a picture of it on his wall. Robert Frost went there to commit a romantic suicide, but didn’t.
SATURDAY 9PM: DOCUMENTARY FEATURE (Runtime: 74min)
1. “Oh, Ophelia” by Dakota Nanton (3:42, 2016, USA)
A man is visited by the ghosts of the dead in his dreams. What happens when the lines between dream and reality become blurred?
2. “THE WORLD IS MINE” by Ann Oren (1hr 10min, 2017, Israel/Japan)
“Talented fans constantly re-create her, that's why she never dies. She is a creative instigator. A collective fantasy. A social glue. Hatsune Miku is the future.” – Hiro San
In cosplay of the Japanese cyber diva Hatsune Miku, the director moves to Tokyo, seeking an identity in the world of Miku fanatics, where she is drawn into a love affair with one of the fans. Miku is a Vocaloid, a vocal synthesizer software personified by a cute animated character. Her entire persona: lyrics, music and animation – is fan created, and that's her charm. She even performs sold out concerts as a hologram. By transforming herself into a Miku character through cosplay, Oren enters a world of real hardcore fans where fantasy is more real than reality and the differentiation between the two becomes obsolete.
The film examines the performative nature of cosplaying – dressing up and playing the role of fictional characters – as a hybrid space where reality blurs into fetishistic fantasies and pop culture clichés. Combining fan-made lyrics and songs, Oren's trials and tribulations in the fictional Miku world unfolds through vague erotic episodes and encounters with characters whose ontological status remains mysterious, bringing to mind the adventures of a modern Alice in a virtual Wonderland.
“I sleep inside the display that depicts the end. And in that end, I will sing a song that only you wanted to hear.” - Hatsune Miku
SUNDAY 2PM: NARRATIVE SHORTS (Runtime: 65min)
1. “Calamity” by Maxime Feyers (20:00, 2017, Belgium)
France meets her son's girlfriend for the first time. She loses control...
2. “TRANSMISSION” by Varun Raman (17:26, 2017, UK)
Welcome To Britannia. Together We Stand Alone.
3. “Rays of the Sun” by Philippe van der Loo (28:03, 2017, Belgium/Netherlands)
In the 12th century in the Ardennes wilderness, a woman awaits with her child for her husband to return from the crusades. While exploring in detail the way people back then lived in relation to nature, this historical drama favours the use of allegory to address contemporary concerns such as religious fanatism, post traumatic stress disorder and alienation.
SUNDAY 4PM: DOCUMENTARY FEATURE (Runtime: 85min)
1. “Two Landscapes” by Neil Needleman (3:26, 2015, USA)
A clash between the landscape the eye perceives and the one that’s remembered.
2. “A Sniper’s War” by Olya Schechter (1hr 21min, 2017, USA/Ukraine)
“A Sniper’s War” is a story of a sniper, whose anti-US views led him to join the pro-Russian rebels in the ongoing Ukrainian conflict—a primary source of tension between the United States and Russia. When social media becomes a communication platform to schedule sniper duels, Deki’s rival threatens to kill him.
The New York-based filmmaker, Olya Schechter, obtains unprecedented access to military bases and front line battles to paint an intimate portrait of the complex and fascinating nature of a man walking the tightrope that often comes to the morality of war: is Deki a solder or a killer?