From Jean-Marie Straubs didactic elegies for Kafka and Orpheus to Michael Robinsons A Line Describing Your Mom, and wacky new work by the late, great George Kuchar, there was much seriousness and much fun to be had at this years Views, which utilized the new venue to showcase more work than ever before.
I worked for a year at the Film-Makers Cooperative just before it left its location in the Clocktower Gallery. The majority of my time there involved cleaning and inspecting films, and while generally speaking, this was a pretty tedious task, it was fascinating to spin certain films through the rewinds and imagine what they would look like projected.
A young woman enters her chic quarters. She begins to disrobe, preparing for bed. A hand wearing a black leather driving gloves reaches out and cuts the cord for the lights.
In the month of May in 1962, 5,056 people were imprisoned in the prisons of Paris. This statistic comes with others toward the end of Chris Marker and Pierre Lhommes 1963 film Le Joli Mai, a film that begins as a reverie and ends as an indictment.
Upside Down Cameras and Other Wonders
By Benjamin Schultz-Figueroa
Ernie Gehrs SignalGermany on the Air and Side/Walk/Shuttle at Light Industry, October 8
Ernie Gehrs Side/Walk/Shuttle (1991) and SignalGermany on the Air (1985) are unlike any other city symphony films.
With her latest film, The Motherhood Archives (2013), Irene Lusztig engages with birth as a cultural phenomenon, a topic that sparks passionate beliefs, yet is rarely discussed critically or publicly.
Trinh T. Minh-ha has made a career of working between disciplinestroubling the foundational precepts of both anthropology and documentary. Her first film Reassemblage (1982), and her written critical analysis of ethnographic methods, effectively shaped a generation of debate over feminism, racism, empiricism, and colonialism in nonfiction filmmaking.
In the Fall of 2017, the filmmakers Irene Lusztig and Julie Wyman orchestrated a joint project between two classes being taught at the Universities of California, Santa Cruz and Davis.
By Benjamin Schultz-Figueroa
Cut & Paste: Contemporary Collage Animation From North America at Anthology Film Archives
Lawrence Jordans Sophies Place (1986) begins with a title card describing the etymology of the Greek word for philosophy, philosophia.
Benjamin Schultz-Figueroa speaks with filmmaker Kevin Jerome Everson about Everson's new work.
Aya Hanabusas Tale of a Butcher Shop begins and ends with the processing of a cow into packaged meat.
Jacqueline Gosss new film The Observers (2011) follows two climatologists through their daily routine of recording weather patterns at the top of Mount Washington.
Andy Warhols immense body of work can at times seem to cover every subject under the sun. The equally immense amount of criticism and conjecture about his oeuvre makes the whole subject of Warhols art fraught with polarization and speculation.
Taschens resuscitation of John Goulds series of prints, The Family of Toucans, comes in an impressively unwieldy box, measured at 13.3 by 19.3 inches.