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“Revisiting my youth, breaking into abandoned houses, searching for signs of past occurrences. With the help of my trusty Bolex, revealing rooms with in-camera superimpositions of a torchlight. Hand-processed and accompanied by sounds from degraded found films.”—B.R.
“A three-day inferno reduced this entire city block in Detroit to rubble in June 2005 and left piles of bricks along with heaps of twisted girders strewn among burned out shells of buildings and torn facades. Within days this site became the preferred habitat of crows, cardinals and a few local warblers. Reflecting the reality that ruins are still real estate, the camera takes to roaming the structures to the rhythm and song of machines, ’till one by one, all the blown-out windows, gaping doorways and mangled elevator shafts are accounted for. Notably, while great quantities of brick and mortar came asunder in the blaze, many nearby trees were barely singed.”—J.M.
“Frontier Step reveals a glimpse of the workers atop the Superdome from July 2006. Their uncluttered domain provides a sharp contrast to the city below.”—G.S.
“The undead was startled the first time the sound of the cicadas persisted despite his movement nearby. But that prepared him a little better for the absence of his image in the mirror. One cannot go back to the other side of the point of no return even in memory.”—Jalal Toufic
“Another old dark house, where only fragments remain of a once animated domestic history, reoccupied by a history of horror films. Crumbling interiors. Stained, peeling walls and forgotten furniture. Dust sheets on rotting floorboards. Shattered windows. The unfolding process of abandonment, decay and renewal.
Searching this landscape for signs of half remembered narrative; making models and a film that explore and reveal the hidden in the forgotten space—the boarded up, gently decomposing remnants of a home.
The work investigates the authenticity of an imagined space. Making fictional mappings of terrain and territory, charting routes and pathways through spaces amongst the rubbish and ruin, exploring ways of world making.
House was an attempt to create my perfect abandoned house; making the rooms on a model scale allowing for total control over the world and highlighting the megalomaniacal act of filmmaking.”—B.R.
“A series of shots in a California desert landscape in which there is a play between on frame and off frame sound. There is an effort to create the space of a story, without a story, by the use of real time/diegetic sound. The film is laboriously honoring play. Love is felt as a force that remains almost off the frame and determines the arrangement of the figures in the landscape.”—L.L.
The film was made with Sandy Ding, Eliza Douglas, Laura Merando, Sally Oviatt, Lucas Quigley and Laura Stennberge, with music by Leslie Gore, Ari Up, The Kinks, The Shangri-Las, Henry Flynt, Laura Steenberge and The Crystals.
“Life half lived to the fullest, through light journeys within and without The Office, in three movements: InnerClose with Shadow and Steam (Andante Up, Down, and Sidelong); Exterior Fantasy from Dawn to Break (Allegro in growing colors); and Hallway (the End of that World-of-Day).”—R.T.
From Long Island City to Chinatown, from the garment district to Times Square, through Rome-Venice-Haarlem-Bruges -Prague, Jim Jennings is an active participant and observant guest, as itinerant as Baedeker or Weegee but with a finer eye for life in transit and a world waiting to be recomposed. In his newest film Jennings concentrates on certain aspects of Prague. On this particular occasion Prague Winter plays in tandem with Henry Hills’ Electricity as both ride the rails of the Czech capital’s tram system. Prague Winter was a phrase already used in 1968 to indicate a step backward with the overturning of the liberation and reforms of the Prague Spring following the Soviet clampdown. But if Hill’s Electricity makes reference to intercepted foreign bandwidths and Soviet repression it also partakes of an earlier Eastern spirit of pre-Communist formalism. Jennings’ Prague Winter has its own formal dynamics but offers up a solemn and compassionate view of physiognomy and fate, exploring a city speckled with snowfall and populated with elderly hibernal figures moving along their well-worn paths. — Mark McElhatten
“Electricity is a Bohemian architectural dance film with an edge. The inner city landscape of Prague, its beautifully integrated accretion of structures representing 1000 years of history, repressed but unbombed, is viewed through the rhomboidal electricity-catchers on the tops of its moving trams. The trams in many ways define the rhythm of the city, and so their looped noises define the rhythm of this film. As contrapuntal fixed point, the Zizkov Television Tower—built by the Soviets for signal-jamming broadcasts from the West (a television-swallowing tower), visible from almost all points in the city and looking like an about-to-launch ICBM—is accompanied by actual Cold War shortwave spy broadcasts.”—H.H.
“Memory and identity are observed through textures of everyday life in a portrait of Jackson Heights, home to a large Latin American immigrant population. Images
of street, people, and daily rituals render passing of time in a neighborhood that becomes a mirror not just of another place, but also of the past. The landscape visually reflects the space as a creation of a new home while revealing displacement within the new condition. The meaning of home is explored and built upon collective recollection.”—A.C.
“The freedom of our vision lies in our hands”—M.-J. Mondzain
“Tahousse is a wonderful and necessary work. In the Alps, in Kurdistan, in Tchecheny… It all begins with a blue tree – BLACK – then, clouds raking the earth of a lost valley – swirling clouds at the speed of terror – BLACK – images returning from beyond the war volcanoes.”—O.F.
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Sun Oct 7: 12:30
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