FREE RADICALS: A HISTORY OF EXPERIMENTAL CINEMA
Friday 21 October 2011, at 6:30pm
London BFI Southbank NFT3

FREE RADICALS: A HISTORY OF EXPERIMENTAL CINEMA
Pip Chodorov, France, 2010, video, colour, sound, 82 min
The artists and poets of cinema since before WWI have always been free radicals, crazy about filmmaking and pushing the art form in radical new directions. Trapped in a no man’s land, excluded both from the art world and the film industry, they boldly created a grassroots network for making and showing their films in a spirit of friendship and solidarity. They also created a profound body of work that continues to influence our culture. In this film, I want to share a few of the films I love and introduce you to some of the free, radical artists who made them. (Pip Chodorov)

Paris-based filmmaker and film activist Pip Chodorov offers this affectionate overview of some of the leading figures of, 20th century experimental film. Narrating in a personal and plainspoken manner (‘I’d like you to meet some of my friends and see their films’), Chodorov combines clips and even films in their entirety with conversations with such luminaries as Hans Richter, Robert Breer, Michael Snow, Peter Kubelka, and Stan Brakhage in his final recorded interview. The film takes its title from Len Lye’s direct animation classic. It was up to visionaries like Jonas Mekas and the organizations he founded – Film-Makers’ Cooperative, Anthology Film Archives – to help struggling filmmakers out. (At one point, Ken Jacobs describes dumpster diving for food.) Warm and inspiring, Chodorov’s film is part essay and part loving tribute. (AFI Film Festival)

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TWO YEARS AT SEA
Friday 21 October 2011, at 9pm
London BFI Southbank NFT1

TWO YEARS AT SEA
Ben Rivers, UK, 2011, 35mm, b/w, sound, 88 min
Ben Rivers’ feature Two Years at Sea follows Jake Williams (also the subject of one of Rivers’ earlier short films) over the course of two years; a man living in complete isolation in a tumbledown home nestled amidst a magnificent forest, a self-imposed solitary exile from society and modernity. Free from dialogue or interaction with his subject, Rivers’ film makes no attempt to psychologise his subject’s Walden-esque existence, instead documenting over a series of long, often static shots the minutiae of Jake’s self-sufficient relationship to his environment.

Close-ups of weathered photographs offer glimpses of a former life equally in thrall to nature; one spent with friends or family members, now simply ghosts adrift in memory. We watch Jake wake and shower, fetch water and firewood, and in an extraordinary single shot build a raft from an inflatable mattress, taking to the water to fish. His existence is one seeming to grow out of as much as disappear into his surroundings, the ramshackle remnants of modern life which fill his home reconstituted to new purpose, the house itself slowly fusing itself to the landscape. Jake too, as in certain shots reflections of foliage in the windows of his campervan create an impression of the landscape enveloping him, consuming him as he rests.

This symbiosis of the organic and mechanical is beautifully captured by Rivers’ monochrome photography; shooting on reclaimed 16mm Bolex cameras, the shifting textures of the images have a makeshift feel, as though the camera were put together by Jake from parts found in one of his many junk-filled cupboards, the pops and crackles of his bonfire at the end mirrored by those of the celluloid, the flares and white-outs adding to the very fabric of the photographed scenery; the film itself acting on what its capturing.

The serenity of Jake’s gaze in the breathtaking final shot speaks more than an hour of interview footage could, it’s a privilege to be able spend ninety minutes in the company of such an extraordinary individual, one with seemingly no need for human interaction of any kind and it’s a measure of Rivers’ respectful directorial stance that his/our presence never feels intrusive. Much as when the camera looks out from the window of Jake’s observation-tower creation, over the silent, snow-capped forest, one can begin to understand his reason for being there; when it takes in Jake, gazing through the same window, one can equally understand Rivers’ reason too.

(Mathew Thrift, www.cinephile-uk.com)

I made a shorter film about Jake called This is My Land five years ago, and as time has passed and other films have been made, I have had a continual feeling that I should go back. The first film was based solely on observation; standing back and watching Jake go about his business in the forest. I wanted Two Years at Sea to move beyond this, so Jake and I worked on scenes that either re-enacted parts of his daily doings, or were fictions not far from his life. The film embraces the slower perception of time, following rhythms that Jake and his environment have, shot over the course of a year in all the seasons. Two Years at Sea has at its core the relationship between a person and the place they have chosen to live out their life, and the deep connection there is between them. Originally the film was going to be shot in colour, then Kodak announced they were discontinuing my favourite black and white film stock, which prompted me to buy as much as I could and make one of the last films with Kodak Plus-X. The film was hand developed in my kitchen. www.benrivers.com

(Ben Rivers)

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ALTERED STATES
Saturday 22 October 2011, at 2pm
London BFI Southbank NFT3

ALTERED STATES

TRYPPS #7 (BADLANDS)
Ben Russell, USA, 2010, video, colour, sound, 10 min
Trypps #7 (Badlands) charts, through an intimate long-take, a young woman’s LSD trip in the Badlands National Park before descending into a psychedelic, formal abstraction of the expansive desert landscape. Concerned with notions of the romantic sublime, phenomenological experience, and secular spiritualism, the work continues Russell’s unique investigation into the possibilities of cinema as a site for transcendence. (Michael Green)
www.dimeshow.com

WHILE YOU WERE SLEEPING
Mary Helena Clark, USA, video, colour, sound, 2010, 9 min
‘This is your life. It rides like a dream.’ (Mary Helena Clark)

SANS TITRE
Neil Beloufa, France, 2010, video, colour, sound, 15 min
A cardboard decor and photographs reconstitute a luxury Californian-type villa in Algeria. Its inhabitants, neighbours and other protagonists imagine themselves there to explain why and how the latter was occupied by terrorists in order to hide whilst, paradoxically, it is entirely in glass. They even polished it clean so as to leave no traces. This improbable and irresolvable anecdote encourages the characters to invent images of an event given media coverage without the images nor the story and thus missing the main point. (Neil Beloufa)

THE PIPS
Emily Wardill, UK, 2011, video, b/w, silent, 4 min
Emily Wardill’s films encourage imagination as an unpredictable tool to surpass rational thought. The Pips explores movement and the materiality of it, the instigation of one and the duration of the other. Shot in black and white on 16mm, then transferred to a digital projection, The Pips focuses on British gymnastics champion, Francesca Jones. The film begins with a straight depiction of Jones’ routine; the patterns created by her ribbon baton trace her movements in the air. It is a reflection of her actions, imitating her and existing because of her. Near the end of the film, the gymnast’s body becomes stretched, elongated and distorted ultimately breaking into a series of mutant parts. Her face remains unfathomed and she gives no acknowledgement to her own decay. As Jones becomes still, her actions take on their own identity; their materiality deconstructed by Wardill’s emphasis on the physical replication of movement. The body and its motions become contained in the object, revealing an inherent plasticity in the gymnast’s performance. (Ian White)

… THESE BLAZEING STARRS!
Deborah Stratman, USA, 2011, 16mm, b/w, sound, 14 min
Since comets have been recorded, they’ve augured catastrophe, messiahs, upheaval and end times. A short film about these meteoric ice-cored fireballs and their historic ties to divination that combines imagery of 15th-18th century European broadsides with NASA Jet Propulsion Laboratory footage. … These Blazeing Starrs! juxtaposes a modern empirical desire to probe and measure against older methods, when we translated the sky to predict human folly. These days, comets are understood as time capsules harbouring elemental information about the formation of our solar system. We smash rockets into them to read spectral signatures. In a sense, they remain oracles – it’s just the manner of divining which has changed. (Deborah Stratman)
www.pythagorasfilm.com

THESE HAMMERS DON’T HURT US
Michael Robinson, USA, 2010, video, colour, sound, 13 min
Looking to a future beyond death, Michael Robinson’s These Hammers Don’t Hurt Us, one of the filmmaker’s most sophisticated found footage concoctions yet, combines Michael Jackson’s Remember the Time music video with footage of Elizabeth Taylor in Cleopatra and roughly a dozen other sources, creating for the late pop star a solemn passage into a bedazzled Egyptian afterlife tenderly ushered by his real-life confidante. (Genevieve Yue, Reverse Shot)
www.poisonberries.net

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NATHANIEL DORSKY / BEN RIVERS
Saturday 22 October 2011, at 4pm
London BFI Southbank NFT3

NATHANIEL DORSKY / BEN RIVERS

PASTOURELLE
Nathaniel Dorsky, USA, 2010, 16mm, colour, silent, 17 min
Though silent, like all Dorsky films, Aubade and Pastourelle are named for types of love songs. His editing establishes tempo, and the shots, lyrical yet specific, thread through the film like melody lines. Music owes its universality to its abstract and primal qualities, which evoke intense emotion. Dorsky’s films operate on the viewer in this manner while still relying on recognizable images. By presenting music visually, he enlarges our sense of what songs and films alike can be. In particular Dorsky is drawn to the ways in which one thing becomes a conduit for transmitting another. Window surfaces are a recurring motif: through reflection, panes of glass contain images while remaining transparent, transforming the appearances of people or street scenes. There’s a shot in Pastourelle of vertical blinds shading a window; a strand pivots on its axis, animated by a draft. It’s mundane and magical simultaneously, an inconsequential detail that contains everything that is meaningful about seeing and being. The blind and the breeze share an interconnectedness you feel in your bones. An explication can’t do it justice. The wonder lies in the fact that it simply is. (Nicole Armour, Film Comment)
www.nathanieldorsky.net

THE RETURN
Nathaniel Dorsky, USA, 2011, 16mm, colour, silent, 27 min
Nathaniel Dorsky, the subject of numerous recent international retrospectives, is producing some of the most resplendent art of our time; his film work stems as much from painting and poetry as the outside world. With The Return, his latest film shot on 16mm and projected at silent speed (18fps), Dorsky delves deep into multiple (under)worlds, sometimes uncanny and surreal, reflected and refracted through various natural and man-made obfuscations like grids, glass, water and brush. From its wintry willow branches to wafting hand gestures in a café, The Return harbours a phantasmal feel, offering a sentient, sometimes dark rumination
on the mysteries that await us. It is, in Dorsky’s words, ‘Like a memory already gone, this place of life’. (Andréa Picard, Toronto International Film Festival)
www.nathanieldorsky.net

SACK BARROW
Ben Rivers, UK, 2011, 16mm, b/w & colour, sound, 21 min
Sack Barrow extends Rivers’ engagement with the marginal and overlooked. The factory is not a state-of-the-art capital producing business, but a site of anachronistically uncompetitive endeavour. The years of production are evident and the regimented clocking in and out of workers attests to the outmoded practices here, unlike the liberal job-sharing egalitarianism that government policy and public expectation impose elsewhere. The run-down architecture, the drips and crusty build-ups of toxic chemicals, the dangling wires, wizened faces and the general pragmatic clutter of the place come close to the patina of the unkempt shacks of earlier films. Sack Barrow is a hymn in a new register to the steadily disappearing textures of the past. (Sally O’Reilly)
www.benrivers.com

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GABRIEL ABRANTES
Saturday 22 October 2011, at 7pm
London BFI Southbank NFT3

LIBERDADE
Gabriel Abrantes & Benjamin Crotty, Portugal-Angola, 2011, video, colour, sound, 16 min
Shot in Luanda and the surrounding area, with non-professional actors, Liberdade is a cross-cultural post-capitalist love story. The film follows two young lovers – an Angolan boy, Liberdade, and his Chinese girlfriend, Betty – as they navigate through the complications of their burgeoning identities. Traveling across the stunning urban and natural landscapes of Angola, from the Chinese karaoke at Shanghai Bahia to the ship graveyard at Santiago beach, Liberdade and Betty struggle to forge the yet uncreated consciousness of their race. (Gabriel Abrantes)

PALÁCIOS DE PENA (PALACES OF PITY)
Gabriel Abrantes & Daniel Schmidt, Portugal, 2011, video, colour, sound, 56 min
Palácios de pena is about a culturally inherited fear in Portugal, linked to political and social oppression during the Inquisition and Fascism. It revolves around two upper-middle class adolescent Portuguese girls, juxtaposing their budding identities to a trial condemning two Moorish homosexuals to burn at the stake. Their ailing grandmother gives them an awareness of their heritage through the mechanism of desire, describing a dream where she is a judge of the Inquisition. The grandmother’s and the girls’ guilt is complicated by their relationship, that of family and love. As they love each other, so does what they represent: ignorance and the will to violently oppress. (Gabriel Abrantes)

OLYMPIA I & II
Gabriel Abrantes & Katie Widloski, Portugal-USA, 2008, video, colour, sound, 7 min
1. A female professional sex worker is visited by her homosexual adolescent brother and his two dogs. He confronts her about her line of work after having played trivial pursuit with mother on the sun deck. He wouldn’t pay a dime for her disgusting breasts.
2. A transvestite professional sex worker from a middle class Texan family waits for customers while listening to Henry Gorecki and drinking mini Diet Coca-Cola. His maid, the ‘chocolate covered strawberry’, comforts him by rubbing his ‘soft batch’ and they begin making love. (Gabriel Abrantes)

www.mutualrespectproductions.blogspot.com

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