Feb 28 2019
March 1 2019
Feb 28 2019 8PM
123 E Franklin St
Chapel Hill, NC 27514
PROGRAM 1: BEHIND THE GLASS
RT: 06:00 Laura Huertas Milan
"Passing by a bedroom, at the party, I saw people heating heroin. I wanted to try it out on my body…” Accompanied by the voice-over of Jeny – a young transsexual filmed during her rehab –, the camera wanders around building 303, Bogota’s architectural icon. A chance encounter: a few years back, when the filmmaker’s father asked her to film the architecture faculty where he had taught, an accident with her 16 mm film resulted in a superimposition of the portrait of Jeny. The film is a testimony where the discreet affirmation of revolt can be heard: “neither torturer, nor victim”. Jeny (who refers to himself in the masculine gender) recounts his delinquency as being the just return for the social violence committed against him.
Life After Love
RT: 08:25 Zachary Epcar
A shifting in the light of the lot, where parked cars become containers for a collective estrangement.
RT: 03:00 Brittany Gravely
An ancient artifact, an alchemical algorithm, astrological archaeology.
RT: 09:00 Emma Piper-Burket
An 89 year old marketing gimmick subliminally resurfaces on a lonely road in the American west.
RT: 03:33 Akosua Adoma Owusu
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.
Notes on Seeing Double
RT: 11:10 Sanaz Sohrabi
What is the anatomy of a revolution? Masses of bodies with a collective desire? “Notes on Seeing Double” takes the figure of speech of “Temsaal” in Farsi as its point of departure to unpack this question. Through a rare juxtaposition of a documentary photograph taken in the February of 1979 in Tehran and a painting drawn by Rembrandt depicting the famous anatomy theatre of Amsterdam in 1632, “Notes on Seeing Double” analyzes the conditions of visuality within different systems of knowledge production. Written and directed as a video-essay, it looks at the threshold of seeing and remembering, a gateway into unpacking the relationship between pre-existing images, language, memory, and the ways images are entangled with different processes of visualization.
RT: 02:50 Laurids Andersen Sonne
Monolithography is an ode to the traces of time, performed on a bicycle ride around the Danish island of Bornholm. The film catalogues ancient monuments as nodes from the past; commas in the language of a landscape and a voyage in perpetual motion. On the island, rock monuments stand in the landscape as quotations from the past, filled with words without a clear etymology, as parts of our present imbued with multiple layers of meaning projected backward and forward in time; their authors unknown, date approximate. Today, they remain mounted in the land as small permanent marks on a larger history, yet: the spiritual, cultural, historical and cartographical knowledge as well as the intention within them continues to be obscured by the present landscape of knowledge, meaning and identity.
RT: 09:37 Pedro Tavares
The overwhelming class has decided to leave the planet but they don't know what is about to come.
RT: 05:55 Marianna Milhorat
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. Commissioned by the Chicago Film Archives and made in collaboration with sound artist Brian Kirkbride, with footage and sound from the archive chopped, manipulated and arpeggiated into a fertile mix of anthem and narrative.
Continents Quiver as Memories Erupt Into Earthflames
RT: 14:00 Georg Koszulinski
An experimental personal essay film reflecting on the Anthropocene, poetry, the first eight years of my daughter's life, and the history of Alan Moore's 1980's run on the Swamp Thing comic book.
RT: 09:45 Adrian Garcia Gomez
Masculinity and queer desire in rural Mexico. La Mesa explores the intersections of memory, identity and queer desire. It recreates fragmented and romanticized stories of a childhood in rural Mexico as told by the filmmaker’s father. These disjointed vignettes are interwoven with queered reenactments of scenes from popular culture. The filmmaker casts himself in the old Mexican films and American Westerns he grew up watching with his family in California. He appears as the romantic lead opposite the male actors, including Pedro Infante, Mexican national hero and the filmmaker’s childhood crush. The animations are laid over footage of the old family home in Mexico which now sits alone, slowly being consumed by the surrounding countryside. By centering queer desire in his family’s history, the filmmaker validates his childhood experiences while challenging popular representations of masculinity as well as traditional notions of power and vulnerability.