ANOTHER EXPERIMENT BY WOMEN FILM FESTIVAL
(AXW for short)
GIVES WOMEN’S WORK A REAL TIME & SPACE IN NYC!!
Your $7 ticket allows you to see all shows this evening!
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SHOW 2: 9th SEASON — WEDNESDAY July 17, 2019 — 6:00 PM
curated by Lili White
TRT: 57.00 minutes
AUTOPOIESIS; Lana Z Caplin;USA; 7.18
#MindBody #SelfHypnosis #Dreamers #utopia #MMIW #GiletJaune #WhitePrivilege #NotMyPresident
#BlackLivesMatter #Enough #IBelieveHer #Parkland #Ferguson #Orlando #TakeAKnee
#StopFundingHate #Brexit #GunControlNow #EmmaGonzalez #4ECognition #Impeach #ClimateAction
#SunRa #SpeculativeSpace #COP24 #HashtagActivism #Divest #TradeWars #LeniRiefenstahl #Olympia
#IfIDieInASchoolShooting #WeAreAllImmigrants #DACA #Shutdown #Woke #CampFire #Paradise
Strong #NoDAPL #TradeWars #Resist #StillMarching #EqualityNow #MeToo #NeverAgain #LoveWins
FROM THE LIFE OF MY OLD WOMAN FRIEND; Evelin Stermitz; Music & Sound: Elise Kermani; AUSTRIA; 6.24
This depicts a woman’s story from a far away century. Based on the images from the popular German novel ‘AUS DEM LEBEN MEINER ALTEN FREUNDIN’ by the female author Wilhelmine Heimburg in 1894, it depicts images of suffering and passive women, whereby the images have been created by a male artist. The video questions the translation of women’s stories passed on from one generation to another, and also questions of how we see the women’s images nowadays in a different century. How much of the images still belongs transferred into the current society without any nostalgia?
Us FLOWERS; Giselle Chien; USA; 3.05
This film was created with the thought of the essence a girl’s capability, the ability to endure pain and the ability to create beautiful things. Like a winter flower that blossoms in the cold, a woman’s reproductive ability also comes with great pain.
FORTRESS; Meredith Moore; Sound: Owen Gardner; 16mm to digi; 3.11
Building a film about building a fortress.
PLATES; Sarah Harbridge; Cast: Margaret Harbridge
Text/Poetry: Sarah Harbridge, Dinah Harbridge, Joanna Harbridge; UK; 10.09
My two younger sisters and I grew up in the 1960’s and 70’s. Throughout that time, each child ate from her own colored enamel plate at a specific place at the dining table. The color of that plate and identity of the sister in some way merged. I found two of the plates in my mother’s pantry in 2018. PLATES explores possible relationships between audiovisual recordings from the material objects themselves and personal narrative interpretations of their past context. Each plate emits its own sound or note when struck, as much as its own color and damage patterns. The narrative interpretations from the present day perspectives of myself and my youngest sister, appear as textual material addressed from plate to plate. The contribution of my late middle sister, is a performance and text of a song that she wrote aged seven, involving her childhood imaginary alter ego characters – remembered and enacted by myself. I direct my mother as performer, who adds her narrative perspective via spontaneous spoken comment.
TRAHERE; Caryn Cline & Linda Fenstermaker; Sound: Caryn Cline; USA; 16MM to digi; 3.11
Using in-camera double exposures, “Trahere” explores our timeless relationship with the natural world as a young farmer entangles herself among the flowers.
FESTAL FLUTTER; Morrison Gong; USA; 16MM to digi; 3.20
A contemplation on the similarities between insects’ life cycles and human’s celebration, festivities, consumption and death
FORECLOSED HOME MOVIE; Lisa Danker; USA; 8.20
A memoir of losing a home in 1930, in Miami, becomes the sister tale to a foreclosure in 2013. Unable to accept the loss of her foreclosed home, the filmmaker’s mother recounts its rooms and features. Photographs and abstractly animated details of the house and its furniture—printed from linoleum blocks
directly onto 16mm film––alternate with the memoir of the 1920s, evoking the cyclical nature both of economic booms (and busts) and of trauma.
PLEASE STEP OUT OF THE FRAME.; Karissa Hahn; USA; 4.00
from your desk(top)
mistrust the manufactured image
distrust the assembled picture
give no credence to the massed account
discredit the aggregate narrative
defame the corporate chronicle
denigrate the collective annals
doubt the constructed copy
– consider the clone.
accept the dismantled vision
exalt the forged now brain
subscribe to the ditto
fuel the doodad delusion
nourish the gizmo nightmare
incite the idiot box prophecy
inflame the dingbat phantasm
a film burn becoming pixels as band-aid
a manufactured reinforcement
in the empire of computer and you
the partition of screen
OULIPO’S CAVE; Maureen Zent; Music: David Baerwalde & Dan Carey Bailey (recorded at The Broad Street Visitors Center, Atlanta, Georgia); USA; 4.45
From deep cave recesses and on to the heavens, a cold slab of stone can contain the cosmos. This music video was inspired by a mid-20th century French creative movement that imposed multiple restrictions on writing. In this spirit the images were constructed with AfterEffects by cutting, coloring, distorting, transforming a single photo of a marble panel at Beinecke Rare Book Library.