“And when I die let me be buried in a Hemlock coffin, so I’ll go through hell snapping.”
Sarah Ema Friedland
7mins54secs, 2022, USA, B/W & Color, sound, 16mm&HD to HD

Combining fantastical hand-painted and computer animations with 16mm film, a Hemlock forest in Western Massachusetts that is dying due to beetle infestation tells a larger story about climate collapse and the interconnections between the natural and the built environments.

Sarah Ema Friedland received her BA from Sarah Lawrence College and the International School of Film and Television in Cuba and her MFA from the Integrated Media Art Program at Hunter College.
Friedland’s works have been supported by grants and fellowships from the Jerome Foundation, the Paul Newman Foundation, the Ford Foundation, the New York State Council on the Arts, the Palestine American Research Center, the LABA House of Study, and the MacDowell Colony.Friedland is a member of the Meerkat Media Collective and the Director of the MDOCS Storyteller’s Institute at Skidmore College.

Sea of Sighs
J.M. Martínez
5mins, 2022, USA, color, sound, 18fps, Super8 to HD

Oceanic patterns come in waves of chroma blurs and ultraviolet light, illuminating marine life in states of change.
Washed-up pieces of bleached coral, urchins, and abalone enter tide pools offering evidence of acidification in the warming waters of the Pacific Ocean. Imagery and color were manipulated with found sea glass and diachronic glass. The sound was made with hydrophones placed inside tide pools, within layers of sea foam, and the surrounding waters capturing the sounds of whales, sonar, container ships, cruise ships, and mining. An ocean soundscape of increasing noise.

J.M. Martínez is an artist based in the Santa Cruz Mountains of California working with photography, film, video, and sculpture. His work utilizes the properties of light with the intention of abstracted visions and biomorphic forms that reveal the evolving landscape. Works of his have been exhibited at SFMoMA, CROSSROADS, Chicago Underground, Festival ECRÃ, EXiS, Crater-Lab, Cámara Lúcida, Antimatter, and the San Francisco Cinematheque.

Salute to the Sun
Darko Masnec
8mins50secs, 2022, Croatia, Color, Sound, HD

An astronaut in love orbits around the sun absorbing its energy. But the sun is too big, causing their connection to break, and the astronaut must continue on his own. As he tries to return to his source of energy, he realizes there are others like him. What started out as a game, slowly turns into a love triangle. Shapes change, but their needs remain the same.

Darko Masnec (1985, Celje) graduated from the Faculty of Education (Department of Visual Arts) in Maribor in 2009 and in 2012 completed his MA studies at the Academy of Fine Arts in Zagreb, Department of Animation and New Media. In 2017 he obtained a PhD degree from the Academy of Fine Arts in Zagreb with the thesis “The Zagreb School of Animated Film: Art and Market Practices in the Context of Videogames”. He has worked as an animator on a few short animated film projects and published several articles on the topic of animation and videogames. He regularly cooperates with Animafest and other festivals. He currently works as an assistant professor at the Academy of Fine Arts in Zagreb.

Radiant Forms
Ryan Marino
7mins, 2022, USA, color, sound, 16mm

Luminous forms merging in time.

Ryan Marino is an interdisciplinary artist working with film, sound, and collage. His 16mm films explore the ethereality of time, light, and space. His 16mm films have screened at film festivals and venues including: Anthology Film Archives, New York Film Festival, San Francisco International Film Festival, Milwaukee Underground Film Festival, Uplink (Tokyo), Venice Biennale, Fracto Experimental Film Encounter, Spectacle Theater,​ and Pacific Film Archive. In addition to creating the soundtracks for his own films, his sound work includes original compositions and commissioned soundtracks for short films and theater productions. By day he works as an audiovisual archivist.

Konstantin
Hogan Seidel
3mins, USA, 2023, B/W & color, sound , 16mm to HD

Konstantin is an experimental film shot on high-contrast black and white 16mm film using a single 100ft reel. The film is an in-camera edit with triple exposures, creating a layered and complex visual language. Through this aesthetic, the piece explores themes of queer love and queer ecology. It invites the viewer to enter a unique and poetic world, where the boundaries between the human and natural realms blur and merge. Pushing against human exceptionalism & into a world where there is no ‘natural’ or ‘unnatural.’
Can a walk in the forest, a kiss between lovers, a roll of film, the touch lichen, liberate ourselves from these hierarchies?

Born and raised in the American South, Hogan Seidel is an interdisciplinary artist with a creative presence in Boston and Seattle. Their moving image art has been featured in prestigious festivals, including Alchemy, Analogica, Onion City, and Istanbul Experimental. Their work has been shown at museums and galleries such as the Belvedere Contemporary Art Museum, The Museum of Fine Arts Boston, The Boston Center for the Arts, Cyber Arts New Media Gallery, Fountain Street Gallery, and the Clemente. Hogan has received funding and support for their work from the Massachusetts Cultural Council, Collective Futures, and the United States Artists Grant. They are a recent alum of the Studios at MASS MoCA Artist Residency.

Ill Composto
Moviate (Josh Drake, James Hollenbaugh, Jeremy Moss, Caleb Smith)
3mins38secs, 2023, USA, color, sound, 16mm

A collaborative Dadaist/exquisite corpse film on the theme of waste by four members of the Harrisburg-based collective Moviate.
Process: A found, expired 100’ roll of 16mm color negative film was split into four parts and photographed separately by each participant. Then each section was developed in a homemade b&w developer from the participant’s own compostable waste. The negative was then printed to 16mm color print stock on a makeshift DIY contact printer along with found optical sound. Lastly, it was assembled in the Dadaist poetry method by cutting the printed film into pieces, placing them into a large wooden box with holes, randomly pulling strips of film out through the holes one at a time and splicing them together in that order.

Moviate is a filmmaker-run curatorial collective based in Harrisburg, Pennsylvania.

Exaggerations
Charles de Agustin
20mins, 2022, UK&USA, color, sound, digital

A supernatural road trip in the Scottish village of Foyers, the American hamlet of Grovers Mill, and reading breaks in an Amsterdam film library. We try to pick at belief and clarity. Difficulties between loving your work, working at loving, making a living. Language piles up, crashes down, and maybe becomes something else.

Charles de Agustin is an artist primarily making films, performances, and texts which playfully scavenge in the ruins of critique and complicity. Influenced by essay/diary cinema traditions, de Agustin finds value in making a caricature out of the didactic, working toward better questions about the insidious forms of violence that impact our attempts at leading ethical lives.

electric moonlight & the language within the leaves
Takahiro Suzuki
8mins, USA, 2023, B/W & color, sound , Super8 to HD

a modern re-telling of the japanese tale of the bamboo cutter and the moon princess. the moon princess listens to the untold intelligence of the cosmos as observed by the trees to become closer with and eventually return home.

Takahiro Suzuki (he/him/his) is an artist currently residing in Portland, ME (USA). He completed his BA in Studio Art from the University of Virginia concentrating in the media of photography and cinematography, and received his MFA in Film, Video, Animation, and New Genres from the University of Wisconsin-Milwaukee.

de-composition
Laura Kraning
2mins40secs, USA, 2023, color, sound , HD

A textural macro collage of a rust belt landscape- scratched, splattered, dripping, cracking, and bursting to the surface. Photographed and meticulously edited over one year in Buffalo, NY, the reverberant tones of the New York Central rail line provide the rhythmic pulse to a rapid cascade of multi-hued material decay and metallic de-composition.

Laura Kraning’s moving image work navigates landscape as a repository for memory, cultural mythology, and the technological sublime. Exploring absence and the fluidity of time, she evokes liminal spaces of neither past, nor present, but a landscape of the imagination. Laura’s work has screened widely at international film festivals, such as New York, Rotterdam, London, Edinburgh, San Francisco, Ann Arbor, Antimatter, Visions du Réel, and Festival du Nouveau Cinema, among others. She is a recipient of the Princess Grace Foundation John H. Johnson Film Award, the Leon Speakers Award and Jury Awards at the Ann Arbor Film Festival, the Film House Award at the Athens International Film and Video Festival and the Jury Award for Short Film at Rencontres Internationales Sciences et Cinémas.

Three Approaches
Ethan Osman
4mins48secs, 2022, USA, Color, sound, digital

Three Approaches is collection of three animated dance performances by Ethan Osman, with sound by Carrie Neumayer. Each piece explores a different process or approach. Ethan uses the human form to explore movement without visual references or dance experience, embodying the 'dancers' to somatically explore the possibilities of movement, one frame at a time. While working on the first approach, Ethan met musician and visual artist, Carrie, who shared love for process oriented artwork and ‘chance’ operation, particularly the collaborations between John Cage and Merce Cunningham. Ethan and Carrie's collaboration began with the mantra, “whatever you make will be perfect.” This climate of safety also formed an intentional practice of allowing the other person to become the ‘chance’ element in each other’s process. For the second approach, Carrie made the music first for Ethan to ‘dance’ to. For the third approach, Carrie and Ethan developed a time code adapted from a text message conversation to compose/choreograph to.

"I make handmade animated films and studies. By intuitively following each film's process without preliminary sketches or editing out mistakes, the films serve as a document of their own process. Ideas, mood, and focus shift each time I enter the studio. These subtleties are evident when each image is sequenced at 12 frames per second, and months of work can be condensed into moments. Similar to AI generated art, my work starts with following a process (algorithm) that often uses prompts, but the work holds all its meaning in being made by hand with life wrapped up in its process." -- Ethan Osman

Virtual Spectres
Sarah Boo
5mins12secs, 2022, Canada, color, sound, HD

Virtual Spectres combines scrolling social media feeds with incomplete body scans, situating them together in 3D space. Moving patterns emerge when layers of TikTok footage are superpositioned and the silhouettes of their creators briefly occupy the same time and space, being swiped together and then away. The video ruminates on our existence as cyborgs in a state of the in-between and everywhere. How does it feel to have body-consciousness that is stretched between macro spaces and virtual spaces, duplicated between flesh organs and corporately owned data centers across the world?

Sarah is a Toronto-based multimedia artist who spent her formative years immersed in virtual worlds of various shapes and sizes. Her internet and video works aim to make sense of her experiences of memory, space, and time in a techno-capitalist society. Recently, she has spent much of her time thinking about online sound environments and their ability to foster digital intimacy. She is currently in the Digital Futures program at OCAD University.

Busy
Jan Otto Ertesvåg
6mins52secs, 2021, Norway, color, sound, HD

The reality of beach snails is not that much different from human lives, filled with an intricate interplay of social interaction and solitude, curiosity about the world and its rigid rules, fleetingness of life and the resilience to go on.

Jan Otto Ertesvåg (Norway, 1969) holds an MA in Animation from the Royal College of Art in London (1997). His films have been screened and awarded worldwide. After 12 years of animating and directing in a variety of animation styles in Oslo, he is now based in Aalesund on the northwest coast of Norway where he continues developing and producing his own abstract stories. He now makes both animated and live action films outdoors in the scenery. Over the recent years he has made a trilogy "from the shore", directing awareness towards lifeforms and civilization.

Two Boys and a Dream
Casey Carter
20mins45secs, 2023, USA, Color, Sound, HD&16mm to HD

Two young boys on a small farm explore the woods, tell stories about monsters on the moon, and recount their scariest dreams, while their father and mother take care of the garden and chickens, reflecting on their own fears and convictions. Recorded on HD, mini-dv, and super-8 cameras, the imagery slips formats as the film follows a dreamlike structure that morphs from an observational portrait to a psychological family diary - meditating on the tensions between familial intimacy, sentimentality, fear, and vulnerability. The mini-dv and super-8 formats invoke generations of home-movie making, collapsed into a portrait detached in time. A curious intimacy suggests the filmmaker may be part of the family too.

CASEY CARTER is a filmmaker and interdisciplinary designer and researcher whose work engages nonfiction storytelling in film, photography, data visualization, and cartography. His photographs have been published and exhibited in the U.S., Ecuador, and China. He was a 2017-2018 UnionDocs Collaborative Studio Fellow. He holds bachelors degrees in both physics and photography from Middle Tennessee State University and a Master of Architecture from the University of Michigan.

Three Pride Flags
Tom Bessoir
2mins, 2022, USA, color, sound, digital

Inspired by the joint Jasper Johns retrospective exhibitions at The Whitney Museum of American Art and The Philadelphia Museum of Art, I created three permutating pride flags.

Tom Bessoir’s experimental films often use mathematics and randomness to explore perception and the structure of cinema.
Tom was born and raised in the Astoria section of Queens in New York City in 1957. From there he commuted by subway to attended The Bronx High School of Science. Tom studied mathematics and electrical engineering at The Cooper Union for the Advancement of Science and Art. While attending the Engineering School, he took advantage of Art School classes, focusing on film theory and studying experimental filmmaking with Robert Breer. In the late 1970s, he started photographing the downtown music scene. His photographs have appeared on dozens of records as well as in films, books, magazines, and newspapers.

The Only Photograph of Emily Dickinson, American Poet
Dennis Tupicoff
7mins43secs, Australia, 2023, color, sound, digital

As the "slant of light" comes and goes in a Massachusetts studio c1850, Emily summons up an English poet from an earlier age. Her playful vision of love and life ends in the unique photograph of Dickinson that survives today.

Dennis has made many award-winning films as writer, director, producer, and animator: fiction and documentary, animated and live-action, comedy and drama – and often inventive combinations. He has also been a full-time lecturer at the VCA School of Film and Television in Melbourne, and has taught and conducted workshops in Europe, North America, Asia and Australia.

Site of Passage
Lucy Kerr
7mins, 2023, USA, color, sound, 16mm to HD

In a mysterious room shrouded in darkness, six young women, through the possibilities of their imaginations, conjure a series of ritual games. By the end of their playful rite, the interwoven bodies, levitating, appear to become one.

Lucy Kerr (b. Houston, Texas 1990) is a filmmaker, artist, choreographer, and educator. Her work is rooted in questions of image-making and performance and how both of these are tied up with ritual and transformation. Kerr received and MFA in Film/Video and Art from California Institute of the Arts in 2020. In 2022, she was named one of the 25 New Faces of Independent Film in Filmmaker Magazine. Her debut feature film, Family Portrait, premiered at the Locarno Film Festival in 2023 and garnered her the Locarno Boccalino d'Oro for Best Director, the feature film grant from Austin Film Society and the AirFrance Prize from FIDLab, and the New Horizons Award from US in Progress at the American Film Festival in Wroclaw, Poland. Her short film, Crashing Waves, is in the permanent collection of Frac Provence-Alpes-Côte d'Azur in Marseille, France. Kerr’s projects have been presented by International Film Festival Rotterdam, FIDMarseille, San Sebastian International Film Festival, Reykjavik International Film Festival, The San Francisco Museum of Modern Art, REDCAT, Anthology Film Archives, Francois Ghebaly Gallery, The McEvoy Foundation for the Arts, and others.

Endearing Insanity
Poyen Wang
8mins36secs, 2022, USA, Color, sound, digital

Employing the genres of horror and erotica, Endearing Insanity navigates the threshold where sensuality and terror meet. Staged within a small apartment kitchen, the seemingly ragged protagonist constrained in various enclosed spaces such as a cabinet, microwave, and sink, performs a monologue waiting for someone to visit. By utilizing the sensual as a tool, the protagonist calls the viewer to enter their intimate realm, gaining agency in a displaced environment. Hovering between the sincere and the absurd, the seductive and the repellant, Endearing Insanity reflects the longing for connection and the desire for visibility.

Poyen Wang is an artist and filmmaker, born and raised in Taiwan and currently based in New York City. Informed by his queer and immigrant experience, his recent work employs the languages of performance art and cinema, and uses 3D computer graphics to create still and moving images, grappling with issues of identity, sexuality and masculinity through a psychological lens.
He has had solo exhibitions at Essex Flowers, New York; Taipei Digital Art Center, Taiwan; 18th Street Arts Center, Los Angeles; Flux Factory, New York; and the National Taiwan Museum of Fine Arts. He teaches full-time at the Hunter College Department of Film and Media Studies.

Bodies #1: Milwaukee Waters
Michelle Trujillo
5mins5secs, USA, 2022, B/W , sound , 16mm to HD

Bodies 1: Milwaukee Waters is the first installation in a series shot on 16mm film that explores the magic and life of public bodies of water. Images for this film were collected from the Milwaukee River, a community pond and the shoreline of Lake Michigan (Milwaukee Bay area). Throughout the 1800s, the Milwaukee River was used to carry sewage into Lake Michigan. The many tanneries, breweries and other industries lining the water, poured their waste into the river without any water treatment. Much work has gone into cleaning the water in the past decades and into removing dams, and flow barriers to increase fish passage. Much progress has been made and the water is much cleaner and safer than it used to be. However, the Milwaukee River Basin is still considered an area of concern (AOC). The main concern is the contaminants in the riverbed sediment such as PCBs, PAHs and heavy metals. My film focuses on the beauty found and restored within this area. My acknowledgement of this dirty past and work to be done stands in the recurring smoke stacks found within the film.

Michelle Trujillo received her BA in Multimedia Studies from Florida Atlantic University and her MFA in Film from the University of Wisconsin-Milwaukee. She is currently working and living in Boston, MA where she is a Visiting Assistant Professor in Film and Video at MassArt.
The focus of her practice is to question and explore representations of Latinx culture, gender and identity creation. Her work stems from an intersectional feminist perspective but does not always offer solutions to the problems it engages with. Instead, she is concerned with upsetting power structures and notions of normality through disorientation. She works in Spanish, English and Spanglish as a mirroring of her lived experience. She also works in various mediums such as eco and hand-processed 16mm film, digital video, 35mm still film and cyanotypes.

Dehumanized
Louis Brückner
47secs, 2021, Germany, Color, sound, digital

"Dehumanized" is an experimental short film, in which the peace of the dead in a military cemetery is disturbed with loud war noises. The camera itself becomes a weapon.
"The truth of war in a nutshell. Without words, but everything is said."
Holger Janke, Pastor

Louis Brückner has been making films since 2013, starting in high school. Afterwards, he completed an apprenticeship as a Technical Design Assistant. During the traininghe developed his obsession with experimental and animated films. Since 2020 he is studying "Film & Sound" at the FH Dortmund.
My vision is to break new ground with passion and experimentation. - Louis Brückner

Here where everything ends
Cláudia CÁRDENAS & JUCE FILHO
19mins, 2023, Brazil, color, sound, 16mm to HD

Here where everything ends is a poetic and experimental short-film, that travels in between documentary and fiction to approach a culture faced with extinction: the indegeonous peoples of Brazil. It is particularly about the sharing of knowledge of the Bugio village, and made in a collective way in every stage of 16mm footage, botanical revelation and sound caption. It tries to reactivate the memories of the origins of the Laklãnõ/Xokleng people, while observing what is lost with the alienation of their knowledge and culture practiced by colonialism.

Cláudia Cárdenas (Rio de Janeiro, 1961) is an experimental audiovisual artist. Cláudia develops research work in video, film and experimental audio, as well as in the creation of experimental audiovisual works at Duo Strangloscope. She is also the creator and curator of Strangloscope – International Conference on Audio, Video / Film and Experimental Performance, which this year was in its 14th edition. Cláudia and Rafael, as Duo Strangloscope, started to carry out workshops and tutorials in experimental residencies in video both in Brazil and abroad for festivals around the world. They research has currently focused on experimental works with video art, expanded cinema and installation performances of different natures and in different supports.

This World
George Ferrandi
6mins, 2022, USA, color, sound, HD

During a visit to the National Aquarium in Baltimore, my 90 year-old mom attempts to repeat after me the lines of Mary Oliver’s “This World,” a poem about the impossibility of writing a poem focusing on something in the world that isn’t special—because as soon as we focus on anything in the natural world, its special-ness becomes evident. My mom’s endearing fumbles in front of starfish and sharks demonstrate—with charming humor and poignancy— another level of truth in the premise of the poem.

George Ferrandi is an American interdisciplinary artist known for her performance, installation and participatory projects that address issues of vulnerability, impermanence, fallibility and spectacle, often through experimental approaches to narrative.

Ashes of Roses
Sasha Waters
11mins30secs, 2023, USA, Color, Sound, HD&16mm to HD

This movie is about loving things that are embarrassing and people who are inappropriate. It's an essay film reflection on popular trash; football parties; older men; adolescent desire and the outrageous yet mundane humiliations of being a teenage girl in the 1980s. With sound design by Kevin T. Allen and performance cameos by filmmakers Roger Beebe and Jason Livingston.

As a moving image artist, I am committed to a feminist cinema of opposition that re-imagines personal and social histories in the spirit of engagement with an earlier age of radical-romantic image making. Using anachronistic strategies of cinematic collage, I stitch together original 16mm footage, found/archival films, images, music and text into lyrical, unsentimental (and hopefully sometimes funny) films that mine the tension between the subjective, lived experiences of women / artists / mothers with our interior lives of fantasy and projection, mourning and dread. —Sasha Waters

Bye Bye Now
Louise Bourque
8mins27, 2022, Canada, color, sound, 16mm to HD

Waving hello to the filming cameraperson, the subjects through this very gesture, are also providing a future viewer with the acknowledgment of a constant good-bye to a fleeting moment.
Yet when the film is projected and the captured gesture is seen, it's as if the subjects are saying hello again from the past.
This film is an homage to the artist's father, the man behind the camera in these personal family archives.

The filmmaker Louise Bourque recently moved back to Montréal after spending 30 years in the United States and elsewhere. Her films have been screened in more than forty-five countries and broadcast on PBS and the Sundance Channel in the US as well as on Télé-Québec in Canada and SBS in Australia. Her work has been presented by major galleries and museums worldwide, including the Musée de la Civilisation and the Musée national des beaux-arts du Québec in Québec city, the National Gallery of Art in Washington, D.C., the Museum of Modern Art and the Whitney Museum of American Art in NYC.

Living Lessons in the Museum of Order
Malic Amalya
20mins, USA, 2022, color, sound , 16mm to HD

Living Lessons in the Museum of Order examines the carceral logics of the Orca Encounter at SeaWorld San Diego and the “Doing Time” tour of the former Alcatraz prison in the San Francisco Bay. Juxtaposing original 16mm footage, promotional VHS and 16mm footage, and analog video feedback, Living Lessons in the Museum of Order explores the tensions between public fantasies and exploitative practices, as well as between rhetorical and cultural changes, within the two California entertainment empires.

Malic Amalya (b. 1980. Burlington, VT) is an experimental filmmaker living and working in Boston. Malic is an Assistant Professor of Experimental Media and Film Production at Emerson College. His films have screened widely and are distributed by Canyon Cinema in San Francisco and Collectif Jeune Cinema in Paris.

My beloved, grey-haired
Anastasiia Kirii
1mins17secs, 2023, Ukraine, color, sound, digital

When the war started in Ukraine, I moved to Barcelona, got there by 9 trains with my dog Penka. This is the first film I created as a reflection to this experience.

Born and raised in Kyiv, Anastasiia Kirii always loved books and used to play them out in my room, with dialogues and accents.

Tlaloc (Lines Drawn in Water)
Abinadi Meza
8mins38secs, 2023, USA, Color, sound, 16mm

Tlaloc (Lines Drawn in Water) is a handmade cameraless 16mm film of materiality and transformation; an enigmatic otherworld where hues of water evolve into prismatic blooms. Tlaloc is the deity of waters, rain, lightning, and growth in the Aztec pantheon. This film explores the membrane of film itself - a moving skin marked by fluid, punctured by light. The protean soundtrack was entirely composed with contact microphones to capture handmade surface markings and gestures. The motion picture was made with direct animation, scratching, hand-painting, and contact-printing techniques.

Abinadi Meza (US/MX) is a Latinx-Indigenous artist who studied creative writing, art and architecture, and whose practice includes experimental film, sound art, and installation. Meza’s films are made with found and original footage, hand-painted film, and original soundtracks.
Meza's award-winning films have been presented at: Anthology Film Archives, New York; Antimatter, Victoria BC; Athens International Film & Video Festival; Atlanta Film Festival; Aurora Picture Show, Houston; Blaffer Art Museum, Houston; Bogotá Experimental Film Festival; Festival de Cine Radical, La Paz; Cosmic Rays, Chapel Hill; Crossroads Festival, San Francisco; Festival ECRÃ, Rio de Janeiro; Esto Es Para Esto, Monterrey; Filmmakers’ Cooperative, New York; Flatpack Festival, Birmingham; Houston Cinema Arts Festival; Irish Museum of Modern Art, Dublin; Istanbul International Experimental Film Festival; Kassel Dokfest, Germany; Mientras Tanto Cine, Montevideo; Minneapolis Institute of Art; non-syntax Festival, Taipei; ULTRAcinema, Tepoztlán; Weisman Art Museum, Minneapolis; and Wexner Center for the Arts, Columbus among other places.

River
Penny McCann
2mins57secs, 2023, Canada, B/W, sound, 16mm to digital

A hand-processed black and white study of the Ottawa River in winter. Commissioned by the Lightproof Film Collective with sound design by Eric Walker.

Canadian media artist Penny McCann's body of work spans thirty years and encompasses both narrative and experimental films and video. Since 2000, she has been engaged in creating a body of experimental films that journeys through an abstract and poetic terrain marked by half-glimpsed memories and fragments of the past, forming a sustained poetic meditation on landscape, place and time. According to Cecilia Araneda in her essay commissioned by Gallery 101 to accompany her 2020 exhibition, Land Lines (of time and place) in no particular order: “McCann intervenes with our sense of the familiar with her use of hand-crafted analogue filmmaking approaches … purposefully setting it back into a kind of suspension that we immediately associate with the dream state of processing memories.”

Bezuna
Saif Alsaegh
7mins30secs, 2023, USA, color, sound, HD

Bezuna explores the complexities of fleeing a war-zone through the analysis of peripheral details. Through interweaving different narratives, the film presents the raw and broken feelings of a child and a cat whose lives will never be the same.

Saif Alsaegh is a United States-based filmmaker from Baghdad. Much of Saif’s work deals with the contrast between the landscape of his youth in Baghdad growing up as part of the Chaldean minority in the nineties and early 2000s, and the U.S. landscape where he currently lives. His films have screened in festivals including Cinéma du Réel, Kurzfilm Hamburg, Kassel Dokfest, and in galleries and museums including the Wisconsin Triennial at the Madison Museum of Contemporary Art and Rochester Contemporary Art Center. He received his MFA in film from the University of Wisconsin-Milwaukee.

Fleshwork
Lydia Cornett
7mins, 2022, USA, B/W&color, sound, 16mm to HD

At a butcher shop in Jeromesville, Ohio, four meat processors situate their labor within their own minds and bodies.

Lydia Cornett (she/her/hers) is filmmaker based between Columbus, Ohio and Brooklyn, New York. As a former musician turned filmmaker, she makes work that unites the restraint of observational storytelling with the physicality and connective qualities she associates with music-making. Her work has screened at AFI Fest, BAMCinemaFest, Sheffield Doc Fest, AspenShortsFest, Hamptons International Film Festival, and DOC NYC, where she received a Special Jury Mention for her film Yves & Variation. She was awarded fellowships to the Jacob Burns Film Center’s Creative Culture program and the UnionDocs’ Collaborative Studio, and she has received support from the Tribeca Film Institute, IF/Then Shorts, the Princess Grace Foundation, and the NYC Women's Fund for Media, Music and Theatre. Her work has been distributed and featured by The New Yorker, PBS (POV and Reel South) Nowness, and Vimeo Staff Picks.

Daybook
Alfred Guzzetti
23mins30secs, 2022, USA, Color, Sound, HD

October, 2019 to August, 2021. Fragments of remembered music, poems, glimpses of objects, recorded day by day, as if a chronicle— or elements of imaginary films yet to be made about a time that needs to be remembered but resists comprehension.

Alfred Guzzetti is a filmmaker and Professor of Visual Arts at Harvard University. His work has been shown at the New York and Berlin film festivals and other festivals in London, Rotterdam, Germany, Spain and France, as well as in installation settings in New York, Copenhagen, Houston and Santa Monica. Guzzetti is the author of the book Two or Three Things I Know about Her: Analysis of a Film by Godard (1981) and a member of the Academy of Motion Picture Arts and Sciences.

Exquisite Corpse Trilogy
Seokyoung Yang
17mins, 2023, Korea, color, sound, digital, 16mm & Super8 to HD

Through three unsuccessful attempts and trials, a filmmaker seeks to reconcile with the death of her father. This film explores the strength of persevering through multiple attempts, even when the outcome is likely to be failure.

Seokyoung Yang (she/they) is a curator, poet, and filmmaker dedicated to artistic experimentation. Born and raised in South Korea, she investigates the correlation between anomaly of language, diasporic bodies, and internal loss through moving images and texts. She received her BFA in film and video program at California Institute of the Arts. She currently resides in Los Angeles, California.

Fathers' Land
Francesco Di Gioia
11mins24secs, Italy, 2021, B/W, sound , found footage to HD

1910s. Poems with alternate rhymes narrate a journey by sea and by rail. These are the verses of Fadil Hasin Ash-Shalmani who witness a historical fact often forgotten: the deportation of numerous civilians during the first years of the Italian occupation in Libya. The short film follows the poet's experiences and memories using only archive footage, thus subverting the original propaganda function of the images.

Francesco Di Gioia (Gorizia, 1993) achieved a BA (Hons) at the Politecnico of Milan in Communication Design, after which he began a course at the Civica Scuola Luchino Visconti in Documentary Cinema. He then studied Video Editing at the Centro Sperimentale di Cinematografia in Rome. He currently works as an archive researcher for several productions.

How to Build a House out of Wreckage and Rags
Bernd Lützeler
8mins, 2022, Germany, color, sound, Super8 & 16mm to digital

Found footage: California in the 1950's and 60's. A young Indian couple enjoys their personal American dream come true in their home somewhere in the suburbs of San Francisco. In great detail they demonstrate their newly achieved wealth in front of their Super-8 camera. Like postcards, they would send these film rolls to their families back in India. Around the same time, an American missionary couple visits the city of Calcutta to shoot a Christian propaganda film. The drastic reality of poverty and famine in the streets of the Indian metropolis fits perfectly into their wicked plan: To promote the believe in Christ by showing the misery that pagan believers are doomed to suffer from.

Artist and filmmaker Bernd Lützeler lives and works between Berlin and Mumbai. His films have been shown at venues and festivals worldwide, including Centre Pompidou, Berlinale International Film Festival, Rotterdam, Ann Arbor Film Festival, Views from the Avant-Garde and many more. Bernd is an active member of the artist-run analogue filmlab LaborBerlin.

(r)evolution
Vanessa Cardui
1min, 2022, Germany, Color, sound, digital

(R)EVOLUTION is a 1- minute object animation film that explores the impact of plastic on wildlife. Researchers found that more than 1500 wildlife species worldwide have eaten plastic in the environment. 100 million marine animals die each year from plastic waste. And a recent study found that people eat five grams of micro and nano plastics every week. (R)EVOLUTION visualizes the increasing danger of plastic - it shows the extinction of animal species and how plastic takes over the body.

Vanessa Cardui, born in 1987, is a Berlin based video artist. She studied art and media at university Hildesheim in Germany. Her work is characterized by artistic metamorphoses. She transforms everyday objects into pieces of art by exploring the different techniques of animation to bring the objects to life. She works with meaningful color contrasts and creates an imaginative world that arises from the texture of the material.

2cent / 10coil
Monteith Mccollum
10mins, 2022, USA, B/W, sound, HD

Part science, part history, 2cent / 10coil is an exploration into the physical properties of a U.S. postage stamp and the anomalies it presents when subjected to the beam of an electron microscope. Integrated within, are the philosophical musings and speeches of a man in his last weeks of life on a quest entitled, “The Voyage of Understanding.”

I like to say this subject found me. At the Analytic Diagnostics lab at Binghamton University I received training over many months culminating in access to a Scanning Electron Microscope. I was enamored with the unique possibilities the SEM offered despite its difficulties. I brought in a small stamp collection to give myself border limitations. The 1932 Harding stamp was the first to come to life. Using the SEM is a slow process, after sealing the stamp in the chamber and composing a shot there was only time for approximately 120 consecutive scans per session. This particular stamp reacted in a way the others hadn’t, fibers came to life and the ink danced. None of these images are animated with software. The mysterious movement stems from the scanning process itself and the build up of heat from the electrons rendering the object.
– monteith mccollum

A throwing forth
Xiao Zhang
6mins, 2023, China/USA, color, sound, 16mm to HD

A time remnant inhabits a personal space with a secret, private, unspoken word of one's being. Sliding planes of window and time, throwing drifts of the inner and the outer self, the film seeks in the interval of memory for a transitory reunion with my family.

Xiao Zhang is an artist-filmmaker from China living in Los Angeles. She received her BFA at Beijing Film Academy in 2020 and currently holds an MFA in Film/Video at CalArts. Her practice centers on personal poetics which derives from cross-generation memory and diaristic approaches. It continues by employing methods drawn from handcrafted celluloid film and expanded cinema. Her work often offers a complex fluctuation between material reality and subjective experience.

Rheme maining sources
Ж
17mins, 2022, Brazil, B/W & color, sound, digital

A place-specific film-excavation of Bixiga neiborhood-São Paulo.
Choreography of forces that cross present time.
Filmancy, clairvoyance is the vision of what is taking shape.
Allegory: lobby-color, speculates.
Hollow in the heart of the city, a rock. A bird ‘rappina’ lands.
Novelty: Quilombo, alley, dealers:step. Vai-Vai samba school’s black and white banner. Pictograms from Benjamin’s “The Arcades project”.
Progress: pluging a river while it’s possible.
Commodity: Matarazzo & Metro. The real state of things, real estate: banning organic. Ground- quotation, blue taroes, water tanks, oxum: (cosmo) political reaction. Rheme maining sources: life asking for passage.

Ж is a film-designer, educator and programmer. His films, video-installations and texts have been exhibited in festivals, galleries and museums such as: SFMoma -Cinemateque (Crossroads 2018)- EUA; Pantalla Global CCCB-Barcelona; Museo San Telmo -San Sebastián-Espanha; EAC (Espacio de Arte Contemporaneo)-Uruguay; Microscope Gallery; Bienal SURb2021-Buenos Aires, 13 Bienal de Artes Mediales (Temblor)- Chile; Berwick Film & Media Fesitival-Reino Unido; Programa de Exposições CCSP-SP-Brazil (solo); Revista ArtContexto- Brazil; 19 Fest CurtasBH-Brazil; 13 CineOP-Brazil; CantorGallery, Massachusetts - USA; VisArts– Frame & Frequency 3– Rockville- USA; CCEG- Centro Cultural España-Guatemala; La Darsena - Argentina; Sala Nordeste -MinC- Brazil; Museu da Imagem e do Som (MIS)- Brazil; Dobra Festival Internacional do Cinema Experimental- Cinemateca MAM- Rio de Janeiro, Blitz#27: Ж Economia/Ecologia _ Zumzeig Cinema-Barcelona, among many others.

Vision of Paradise
Leonardo Pirondi
16mins, 2022, Brazil, color, sound, digital, 16mm to HD

The great voyages to the "New World" were seen as expanding the frontiers of the visible and displacing those of the invisible, therefore, maps from that time render the real and imaginary. The film follows a voyage of the Brazilian Military in search of an imaginary island with the same name as their country. The myth from 1483 Brazil, or Hy-Brazil, is known to exist to the west of Ireland and above the Fortunate Islands. Vision of Paradise is an examination of the capacity of the human imagination and computer simulations to construct environments. Amidst the fine threshold of the real, simulated, and imagined, the film analyzes the contemporary ideas of virtual reality and their ambition to expand the frontiers of the physical world into a "New World".

LEONARDO PIRONDI is a Brazilian filmmaker based in Los Angeles. His films explore the infinite abyss between the multiple derived versions of reality through documentary, experimental, and narrative modes. Much of his work uses analog and digital manipulations on celluloid to examine the sociopolitical unfoldings of the intersections between imagination, science, myth, and technology. His films have been exhibited at various film festivals, institutions, and venues internationally, such as the International Film Festival Rotterdam, New York Film Festival, Viennale, BFI London, Melbourne, Edinburgh, Guanajuato, True/False, Ambulante, Curtas Vila do Conde, Wexner Center, REDCAT, and others. Some of his work exists in the collection of the UCLA Film & Television Archive, Cinematheque of the Museum of Modern Art in Rio de Janeiro, and The Film-Makers' Coop. in New York. He holds a Film/Video degree from CalArts, is a Sundance Ignite Fellow, and is the recipient of the Allan Sekula Social Documentary Fund and the Tim Disney Prize for Excellence in the Storytelling Arts.

Case Study One: The Shrink
Mila Rae Mancuso
5mins35secs, USA, 2022, B/W&Color, sound , 16mm to HD

A short poetry thesis film surveying transitory object-life and permanence. Concepts arose from games of exquisite corpse & practices of automatic writing —part one of a series of vignettes. Shot on 500T 16mm, hand processed.

Mila Rae Mancuso is a writer and interdisciplinary artist whose creative work is driven by the subconscious. Writing poetry since the age of 14, her work is fueled by self-discovery and contemporary feminist surrealism which explores the complex intersection of fairytales, girlhood, and the macabre. Mancuso’s work often entwines the worlds of literature, art, filmmaking, and experimental processes to create an occupancy of its own kind.

Babbler, Fairy and Thrush
Karel Doing
3mins44secs, 2022, UK, B/W & Color, sound, 16mm to HD

Part science, part history, 2cent / 10coil is an exploration into the physical properties of a U.S. postage stamp and the anomalies it presents when subjected to the beam of an electron microscope. Integrated within, are the philosophical musings and speeches of a man in his last weeks of life on a quest entitled, “The Voyage of Understanding.”

An unfiltered stream of perception: small objects and grand panoramas appear simultaneously. The certainties of near and far, detail and overview, inside and outside are deliberately thrown into confusion. Aided by ‘in camera’ superimposition and travelling mattes a near abstract experience is created. Sunlight filters through semi-transparent surfaces, while small holes and cracks allow the light to travel unrestrained. The work was conceived and shot within a few hundred yards from my house, focusing on the plants, flowers, trees and ferns that grow around me.The soundtrack is composed with noises and voices from that same area, revealing a further abundance of life.

Karel Doing is an independent artist, filmmaker and researcher whose practice investigates the relationship between culture and nature by means of analogue and organic process, experiment and co-creation.

Everything Comes Full Circle
Lilan Yang
13mins44secs, 2022, USA, B/W & Color, sound, 16mm

Following Wim Wenders’ Paris, Texas (1984) filming locations from Houston, Texas to Los Angeles, California, I use a 16mm Bolex camera to capture the vastness of the American West. The footage draws me to reminisce about snippets of my everyday life. I contemplate how we perceive the world through analog optical apparatuses and how memories are multidimensional yet fragile. Our recollections of people and places can be distorted, unrecognizable, and fictitious. These memories would eventually diminish with the passing of time. Everything Comes Full Circle is a personal attempt to remember things that will soon be forgotten.
The original footage was shot in Kodak 16mm film stocks during the summer of 2021 and edited digitally with voiceover. Later the digital moving images were inkjet printed on clear film spliced together with perforations cut out with a laser cutter. Each run of the projection makes the printer ink slowly melt, and the film will eventually fall into decay over the course of time.

Lilan Yang is an artist and experimental filmmaker from Chongqing, China. Her practice explores the myth of cities and landscapes, ways of seeing and unseeing, and sentiments of remembering and forgetting, through lens-based analog media such as 16mm filmmaking and 35mm photography, as well as digital technologies such as machine learning and data visualization. She received a BS in Computer Engineering from University of Illinois at Urbana-Champaign and an MFA in Digital + Media from Rhode Island School of Design.

A Thousand Years Ago
Edgar Jorge Baralt
20mins, 2022, USA, B/W & Color, sound, 16mm to digital

(In an imaginary look back at the present from the year 2049, an exile returns to Los Angeles decades after being displaced by large scale social and environmental collapse. Once back, he recreates his past (our present), and imagines the lives of those who inhabited his apartment during his absence. His sense of displacement leads to a meditation on place, memory, and dreams.

Edgar Jorge Baralt (b. 1988) is a Venezuelan-born filmmaker based in Chicago, whose personal work tackles questions of memory and temporality, incorporating multiple formats in his practice. He obtained an MFA in Film and Video from the California Institute of the Arts. His work has been programmed at different international venues and festivals, including the Berlinale, LA Filmforum, Chicago Underground Film Festival, Kasseler Dokfest, Bucharest International Experimental Film Festival, among others. His films attempt to destabilize rigid ways of understanding identity, perception, and landscape.

Damp Moss
Christopher Thompson
4mins22secs, 2023, USA, color, sound, super8 to HD

Glittering illusions of vectorized providence attempt to emulate an inherited physical realm of diminishing significance.

Christopher Thompson (1990) is a contemporary American artist and filmmaker whose work examines desire, capital, and the seemingly supernatural forces that govern its acceleration. His films and video works have been featured in film festivals and exhibitions worldwide, including San Francisco Cinematheque’s CROSSROADS Film Festival, Prismatic Ground, Mimesis Documentary Film Festival, the 5th Odessa Biennale at the Odessa Museum of Contemporary Art, and “Late capitalism, it's like, almost over” at The Luminary in St. Louis. He holds a B.A. from the University of Southern Indiana and an M.F.A. from Washington University in St. Louis, where he studied video art and performance. He is also the director of HATERS, an online moving image journal. Thompson lives and works in Brooklyn, NY.

Dear Monster
Stefano P. Testa
15mins, 2023, Italy, Color, Sound, HD

A fragmented collection of letters tells the story of Elio’s passage from adolescence to adulthood. Elio is a restless and disobedient Italian 18-year-old fellow who lives his youth between cheating and betrayals during the swinging 60s.

“Dear Monster” is a collection of authentic documents. However, there are few historical and biographical references to the characters. Voices and handwriting are the only elements useful to draw the senders’ psychological profiles. The texts are read and interpreted by actors; the voices are inserted into sound environments, as if hypothetically present at the time of writing. The film develops visually through a slow overlap of symbolic and evocative images of the inner universe of the young Elio. Through the use of fade effects, the pages of the letters merge with photographs, magazine clippings and some amateur films of the time. The result is a stratification of worn-out textures and faded colours. “Dear Monster” is a backward journey in memories, in search of lost affections.

Stefano P. Testa was born in 1988. He lives and works in Bergamo (Italy) as a camera operator, video editor, colorist and post-production technician. Since 2010 he has been collaborating with Lab 80 film in documentary films production and with Bergamo Film Meeting, in charge of the festival audiovisual communication.

In Littleness
Cherlyn Hsing-Hsin Liu
8mins15secs, 2022, USA, color, sound, 8mm to HD

The film was shot on a regular 8mm camera and is presented in unslit form as 16mm, a screening format commonly referred to as double 8mm. When I first came into contact with this medium, I was deeply attracted by its miniature size. Eight millimeters is a very small space on which to store images. It reminds me of all kinds of things from childhood: ephemeral, wonderful, changeable. Recalling that as a child I spent most of my time with my nanny, I decided to zoom in on daily life, especially trivial household chores. At the same time, the particles and dust of the childhood world are magnified.

Cherlyn Hsing-Hsin Liu (b. 1982, Kaohsiung, Taiwan) is an interdisciplinary artist, filmmaker and writer whose work is grounded in literature and the conceptual avant-garde. Cherlyn’s creative activity often starts from a life event or curiosity concerning an anomaly in language or in the material world. It continues by employing methods drawn from both Eastern and Western practices and philosophies. Her working method at various times involves handcrafted material, mixed media, and experimental interchange between new and old technologies.

istén:'a
KJ Edwards
5mins12secs, Canada, 2023, Color, sound, 16mm to HD

A poetic retelling of a visit from the artist’s mother, istén:'a looks to dreamspace as a meeting place for us and our late loved ones who we are always tethered to.

KJ Edwards is a Kanien’kehá:ka,mixed-settler filmmaker and media artist. Their family is from Kahnawa:ké and Longueuil, Quebec, Canada; while KJ was born and raised in Treaty 6 Territory, Edmonton, Alberta, Canada. Holding a BFA in Film Production from the Toronto Metropolitan University, KJ is trained in narrative, documentary and experimental filmmaking techniques, using both analogue and digital hybrid workflows. They are a 2023 MFA graduate from Emily Carr University of Art + Design, located on unceded traditional Musqueam, Squamish and Tsleil-Waututh Territory in Vancouver. KJ's thesis work involved eco processing analogue film, reflecting on the unpredictability of the medium as that of a collaborator, and the ways that dreams and memory can offer creative pathways toward content creation.

Language Unknown
Janelle VanderKelen
6mins10secs, 2022, USA, color, sound, 16mm to digital

This film embraces plant sentience as fact and speculates how beings of the vegetal variety might approach interspecies communication with humans (who are far more sensorially limited). Leaves, mycelium, and roots playfully examine how humans experience the world, and the (supposedly) silent watchers consider what language those swift blurs of human might possibly understand.

Janelle VanderKelen is an artist, curator, and educator currently based in Knoxville, TN. Her films and intermedia installations imagine alternative acts of relation between imperfect bodies (human, vegetal, geological, or otherwise) and make visible the agency of plants through experimental time-based media processes. VanderKelen’s work has been exhibited at institutions including the Boulder Museum of Contemporary Art in Boulder, CO; Anthology Film Archives in New York; and Bow Arts in London, England. Her films have screened at Ann Arbor Film Festival, True/False, Athens International Film + Video Festival, Revelation Perth International Film Festival, IC DOCS, San Diego Underground Film Festival, and Antimatter [Media Art] Film Festival.

Pump
Charles Cadkin
4mins42secs, 2022, USA, color, sound, 16mm to digital

On the Northwest side of Chicago, large swaths of people have been gathering for decades to fill their containers with water from a magical water pump.

Charles Cadkin is a visual artist concerned with documenting and preserving neglected personal and local histories through topography, landscape and body. He holds a BS in Cinema and Photography from Ithaca College and resides in Chicago, IL.

This Is How I Felt
Josh Weissbach
1mins35secs, 2022, USA, B/W, sound, 16mm

This Is How I Felt was filmed in a twenty-four period while the filmmaker was wearing a heart monitor to investigate possible arrhythmias.

Josh Weissbach is an experimental filmmaker. He lives in a house with his wife, two daughters, three cats, and six chickens next to a once abandoned village. His films and videos have been shown worldwide in such venues as Ann Arbor Film Festival, Slamdance Film Festival, European Media Art Festival, Mono No Aware, Chicago Underground Film Festival, 25 FPS Festival, and Alchemy Film and Moving Image Festival. He has won jury prizes at Videoex, ICDOCS, $100 Film Festival, Onion City Experimental Film and Video Festival, Berlin Revolution Film Festival, and Haverhill Experimental Film Festival.

With The Tide, with the tide
Anna Kipervaser
2mins49secs, 2022, USA, Color, sound, 16mm to digital


I know, you're a seasonal beast
Like the starfish that drift in with the tide
With the tide
So until your blood runs
To meet the next full moon
Your madness fits in nicely with my own
With my own
Your lunacy fits neatly with my own
My very own
- from Sea Song by Robert Wyatt

Anna Kipervaser is a Ukrainian-born artist whose practice engages with a range of topics including human and animal bodies, ethnicity, religion, colonialism, and environmental conservation. Her engagement with these topics is informed by a commitment to formal experimentation, DIY and alternative processes, spanning disciplines including experimental and documentary moving image works in both 16mm film and digital video.

From Here
Flor Marmolejo
2mins, 2023, USA, Color, sound, digital

Thoughts about belonging, cultural symbols, and personal loss.

This short essay film grew out of my inability to reconcile with the distance that separates me (as a hyphenated-American) from my country of origin. Rather than a lived, embodied knowledge of Mexico, I walk around with myths and symbols that are my access to a country that should be so familiar. Entwined with this subjective experience is the objective reality that these same cultural myths and symbols shroud a palpable violence that lurks beneath the surface in Mexico. When faced with the disappearance of someone close to me, the distance shrouds them in a mythic story for me as well. Flor Marmolejo

Reclamation Project No. 1
Tyler Bohm
1min13secs, 2022, USA, Color, sound, HD

Reclamation Project No. 1 is an AI-driven experimental short which explores an urban environment reverting to its natural state. The work represents both a reversion to an earlier era, and, potentially a progression through climatic upheaval into a future state where nature has reclaimed the city.

Ty Bohm is a new media artist and filmmaker who spent several years working in the architectural industry, where he adopted the tools of digital modeling to create experimental works exploring the impact of technological advancement. In recent years, his work has been shown at FILE Festival (São Paulo), CineAutopsia (Bogotá), Cue Art Foundation (New York), Museum of Science Boston, Science Gallery Atlanta, NURTUREart (Brooklyn), Equity Gallery (New York), Boston Cyberarts Gallery, Terrault Contemporary (Baltimore), Proto Gomez (New York), Icebox Project Space (Philadelphia), Trestle Gallery (Brooklyn), Weston Art Gallery (Cincinnati), Gallery Madison Park (New York), Proto Gallery (Hoboken, NJ), Plexus Projects (Brooklyn) and Ann Street Gallery (Newburgh, NY). He is a graduate of Kenyon College and University of Oxford and lives in San Diego.

In these rows of hurried lines
Michel Boulanger
9mins9, 2022, Canada, B/W, sound, HD

This video depicts the torment of a farm worker who ends up sabotaging his watering plan and abandoning his tractor to better enter into a sensual relationship with the earth and the vegetation. The character questions the disembodied relationship to time and space in his work. As a challenge to break with his work schedule, our farmer performs a kind of ballet on his powerful machine before running in the fields, stopping, or rolling on the ground getting better interest in the details of the ground, following the sinuous line of a grass snake on a ground marked by the straightness of the lines. On a poetic tone, his voice is an ode to the reappropriation of time and space, a return to a form of existence where the movement of the body in itself is a strong moment.

Michel Boulanger, born in Montmagny, Québec, is a multidisciplinary artist that lives and works in Montréal. He holds a master’s degree in Visual Arts from Université du Québec à Montréal (1992). Michel Boulanger has participated in several exhibitions in Canada and in countries overseas, such as the United-Kingdom, France, Spain, the United-States and Mexico. In 2004, his work was featured in a solo exhibition at the Musée d’art contemporain de Montréal. His works furthermore belong to a number of public and private collections. Founding member of Galerie B-312, he has been professor at the École des arts visuels et médiatiques de l’UQAM from 2001 to 2020 where he started Grupmuv, a research-creation laboratory dedicated to drawing and moving images with professors Gisèle Trudel and Thomas Corriveau.

Panorama
Djuly Gava & Daniel Leão
17mins, 2023, Brazil, Color, Sound, 4k

Panorama is a marginal film like Panorama, one of the largest housing projects in southern Brazil. Located on the side of a highway on the outskirts of Florianópolis, the Panorama Housing Project was built in 1989, the year of the first Brazilian presidential election after the end of the military dictatorship. Through the appropriation of archival footage of the residents, the film narrates the passage of time in community life. Directed and edited by residents of the complex, Panorama is both an ode to possible joys of everyday life and a subtle reflection about what leads us to photograph, the ways of permanence of the past and the migration of images from familiar contexts to the public and common territory of the cinematic space.

Djuly Gava (Florianópolis, 1995) holds a master's degree in Contemporary Artistic Processes and is graduated in Visual Arts by the State University of Santa Catarina. She participates in exhibitions and art fairs since 2013, such as: 11th National Salon Victor Meirelles, 2022; 15th National Salon of Itajaí, 2021; Tijuana Printed Art Fair, Casa do Povo, São Paulo/SP, 2019; Microutopias - Feria de Arte Impreso de Montevideo, Centro Cultural España, Montevideo/Uruguay, 2019. Her photographic work is part of the collection of Santa Catarina Art Museum. She has been working with cinema since 2015.
Daniel Leão (Rio de Janeiro, 1984) is a documentary filmmaker, visual artist, professor and book editor. Graduated in cinema from Fluminense Federal University (2010), Master in Image and Sound Analysis from the same institution, Doctor in Visual Arts from State University of Santa Catarina with a sandwich period at New York University (2020) and is currently carrying out post-doctoral research in the area of Literature about the Brazilian documentaries about the coup d’état against former president Dilma Rousseff. Daniel has been working as documentarist and visual artist since 2013, works that have been exhibited in several Brazilian and international institutions, such as the Museum of Modern Art in New York (MoMA).

Show de bleu
Antoine Larocque
2mins, 2022, Canada, color, sound, HD

Show de bleu (2022) is a short film shot in Tingwick, in the Centre-du-Québec region. The title of the work comes from a Quebec expression which refers to burnout. Tire squealing (burnout) occurs when motorists cause their vehicles to lose traction so that the accelerated rolling of the wheels generates blue smoke. This practice, deemed illegal by the road safety code, highlights life in rural areas and the leisure activities that constitute it. The video thus highlights automobile culture through the encounter between its followers. By trying to “leave their mark”, they participate in a form of filial ritual. The sequence of images is taken from scenes found and filmed by Antoine Larocque. It is accompanied by a soundtrack created by the composer Charles Barabé.

Born in Arthabaska in 1995, Antoine Larocque is a visual artist. His work is characterized by a personal, raw and experimental approach to the image. He favors rudimentary means and elements found in his daily life, with the aim of transfiguring the aesthetic codes of the popular culture of the region where he grew up. He mainly uses photography, painting, video and writing. His video works are distributed by Vidéographe and have been broadcast in Canada and internationally.

Continental Drifts
Georg Koszulinski
12mins, USA, 2022, Color, sound, HD

A fictional account of David Koresh’s last words, a cursory analysis of the pantheon of Icelandic sagas, a home movie taking into account 20 years of filming on an old Bolex 16mm camera, a series of reflections on the destructive nature of industrialized societies: a collage film, metaphysical road trip movie in time of pandemic and social uprising. A point-and-shoot epistolary fever dream collage film made in times of multiple crises.

Georg has been making films and videos since 1999. His recent work engages issues of the Anthropocene and merges his interests in science, poetry, and radical forms of non-fiction filmmaking. His award-winning works have been presented at hundreds of film festivals around the world. Georg is an associate professor of film studies at the University of North Carolina - Wilmington where he teaches courses in documentary & experimental modes of filmmaking.

I Gave It To You
Claire Maske
2mins45secs, 2022, USA, B/W, sound, 16mm to digital

Two friends discuss guilt and personal responsibility after one transmits covid to another during an already hard time in her life.

Claire Maske is an artist and filmmaker currently based in boston: Her work largely revolves around themes of illness, grief, and death- She is interested in the body and all the ways it can fail. Much of Her work is informed by own experiences of grief and loss, and Her anxieties surrounding these topics fuel its form and content.

Homesick Lungs
Felix Klee
15mins, 2022, Germany, B/W, sound, digital

You can't bring back a dead horse, but there are ways to step into a place that was lost. "Homesick Lungs" is an experimental farewell. The film delves into the lungs of Sheila, the dying horse, and the history of a sold family farm. 3D animations, screen recordings and documentary footage combine to form an essay on reconstructed memory. In the end, the wind brushes through virtual nettles.

Felix Klee (*1990) lives and works in Munich where he currently studies directing for documentary film at University of Television and Film Munich. From 2020 – 2022 he serves as an advisory board member at Locarno Film Festival. Together with Gisela Carbajal Rodríguez he received the 12-month media art scholarship by Kirch foundation and HFF Munich for 2022. In 2019 he received Kirch foundation's project founding grant. He is a graduate of the Academy of Fine Arts Munich where he studied time-based media under Prof. Julian Rosefeldt and painting under Prof. Pia Fries. He studied painting under Prof. Thomas Hartmann at the Academy of Fine Arts Nuremberg and was a guest student at Universidad de las Artes Aguascalientes Mexico.

RPM hits the road once again! Coming up is a special event called Elemental Findings, a collaborative screening set to take place on June 21st at Automata in Los Angeles, a non-profit organization run by artists. This exciting program marks the start of the 2023 celebrations, commemorating the 10th anniversary of RPM's inception and its fifth year in Boston.
The lineup for this event features curated works from the past five years, showcasing artists who have contributed multiple pieces to various festival editions. Among the featured artists are Stephanie Barber, Karel Doing, Youjin Moon, Tomonari Nishkawa, Kathryn Ramey,Curry Tian, Silvia Turchin, Douglas Urbank, and Sasha Waters. For further details and additional information, please visit: AutoMata

Presented by
Revolutions Per Minute Festival and AutoMata.

Special thanks:
Cherlyn Hsing-Hsin Liu & AutoMata

Cherlyn Hsing-Hsin Liu is an interdisciplinary artist, filmmaker, writer, and curator whose work is grounded in literature and the conceptual avant-garde. Cherlyn’s creative activity starts from a life event, an anomaly in language or in the material world. It continues by employing methods drawn from both Eastern and Western practices and philosophies. Her working method at various times involves handcrafted material, mixed media, and experimental interchange between new and old technologies.
She is a lecturer at CalArts, teaching experimental film. She is co-curator of Move Screen, Process Cinema, the founder of Experimentalist Media Collective, the editor of B-Journal, and serves as a programmer for the Experimental session of Slamdance Film Festival.

IT IS NOT SPRING, UNTIL ALL FLOWERS BLOSSOM. - Curry Tian

“ IT IS NOT SPRING, UNTIL ALL FLOWERS BLOSSOM ” (a quote from Shui Mak Ka, one of the factory workers initializing the 1982 Garment Strike) is a homage to the overlooked and objectified laboring body of Asian Immigrant Women in the western world, with an eye on the garment factory owners and workers within the New York garment production sector as a representation of the US social panorama.
With reference to the French philosopher Gaston Bachelars’s topo-analysis theory from his literature work The Poetics of Space — a form of research that examines the intimacy of objects and spaces; the working space itself becomes the representation of one’s identity, cultural behaviour and a kind of consciousness. Thus, this collaborative project aims to explore the poetic relationship between these women factory worker’s invisible social identity, the workspace, movement and fashion in the Chinese diaspora in America, dating from the 1970s to present times.

Curry Sicong Tian is a US-China based multidisciplinary filmmaker and artist, whose talent ranges across Director, concept/digital, 3d, and photographer, and not in a segregated way but artfully blending the vastly different mediums into a seamless harmony of leading edge expression.
In 2020, Curry won an Academy Award for her student short film “Simulacra”, and in such a short span of time went on to create masterful works for clients such brands as Mercedes, Apple BEATS, Chanel, L’oreal, Canon and more. Her visual creation of the 88rising MainStage Coachella performances, made waves at the world’s premiere music festival.