ANOTHER EXPERIMENT BY WOMEN FILM FESTIVAL
(AXW for short)
GIVES WOMEN’S WORK A REAL TIME & SPACE IN NYC!!
New Filmmakers NY
Anthology Film Archives, 32 2nd Avenue at 2nd Street NY NY 10003
(F train to 2nd Avenue)
Admission: $7 entitles you to see all NEW FILMMAKERS screenings this night!
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Show 1: 8th SEASON
Wednesday FEBRUARY 28, 2018 – 6 PM
LIVING REALITY — TRT: 61 min
curated by Lili White
Visiting filmmakers, Lana Z Caplan & Rebecca Heidenberg, will be in attendance!
WARNING! WARNING! WARNING!
flashing lights in the first film,
may cause seizures
ADDITIVE EMOTIONS; Rrose Present; SPAIN; 2.25
from the Series: “vídeo ‘without-camera”’ reinterprets ‘camera-world’.
Net-found footage of the first videos on YouTube of the terrorist attack on the Ramblas, in Barcelona on August 17, 2017
THE PRECARIOUS NATURE OF THE PLANET AND OURSELVES; Paula Levine; USA; 9.00
Title from an essay by Terry Tempest Williams.
An intimate conversation in the space between living and dying. Planned as a series of ongoing recordings between the artist and her husband David, who had just been diagnosed with pancreatic cancer. This was the only recording made before David’s death, two weeks following this video.
PRISM; Kyath Battie; Canada; 8mm and Super 8; 3.26
Fragmented moments filmed using prisms and diamond-like shapes used to frame various sequences found at my parents home, a brief moment of my mother rising from bed after a serious illness, and a final return to reflected light and creatures found at sea.
THE WORDS ARE NOT WHAT YOU MEANT; Jiayi Chen; USA; 12.58
A stranger’s quest in Chicago, U.S.A, particularly Chinatown, for a sense of being in an uncertain time. The work derives from experiences of translation and transportation, negotiations with foreignness and intimacy, and attempts to physically and emotionally inhabit a place.
HEDONHEATHEN 1; Lana Z Caplan; USA; 1:50 mins
The dissonant harmony of pleasure at the expense of nature in the El Yunque Rainforest (Puerto Rico) and the waters of the island of Culebra.
POSEN; Ania Plonka; MUSIC: Krzysztof Sokol, Jakub Lemiszewski;
with: Julia Poziomecka, Tomasz Fabiszewski, Halszka Bobkiewicz;
TYPOGRAPHY: Ania Wielunska; 8mm and Super 8; POLAND; 8:41
Slow motion close-up shot of female feet walking on treadmill. Every time she wants to kill herself she does some cardio. POSEN is the name of the city where it began, but it’s also neologism for the after-the-dream’s state of mind (in polish language posen means literally after dream) – state of fluctuations of consciousness upon awakening, when the real displaces the dreamy, something unreal. POSEN is also a memory distorted over time. The documentary has gained a feature superstructure, among other things in the form of stock materials, which complement the film space with elements of collective imagination.
FEMINAM; Marijke De Belie; VOICE: Tamara Rosseel, Linet Carrillo; BELGIUM; 01:28
FEMINAM (Latin for woman), uses a direct animation technique, with a black aquarell pencil on a white panel of wood. This animation, is not like a scientifical chronological enumeration of all female icons but more a flood of images like the one we experience in our REM sleep.
THE WATER CHILDREN; Rebecca Heidenberg; Cast: Maria Kozak; USA; 14.33
A personal history of multiple pregnancy losses is explored through stop motion animation and live action scenes which meditate on the physical and spiritual dimensions of loss and grief. Shot in both black and white 16mm film and HD color video, contrasting filmic media embody the duality inherent to states of both pregnancy and grief: a flickering between inner and outer, between the invisible and the visible.
165708; Josephine Massarella; CANADA; 16mm; 6:37
Shot on 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. Techniques include stop motion, time-lapse, light painting, flicker, tinting, and toning. Combined with cycles of alternating exposed frames, these methods imbue the work with a rhythmic magnetism, apparent both in the tempo and the aesthetic of the images. 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