SHORTS PROGRAM 4 – Saturday April 22
6pm – Grapefruit Studios (above Company Brewing)
735 E Center St, Milwaukee, WI
Ten Mornings Ten Evenings and One Horizon dir. Tomonari Nishikawa
10 min, 16mm, 2016
It displays bridges on Yahagi River, which runs near where I was grown up in Japan. I shot each bridge twice, first in the morning and second in the evening of the day. It was exposed one-sixth of the frame at a time and the result would show the sense of the sun rising or setting.
Ghost Children dir. Joao Vieira Torres
16 min, digital, 2017
Ghost Children, presents seven reminiscences of early childhood, read in seven different voices, as the camera presses close against the faded dye and exaggerated grain of family photographs from the early 1980s. Whose faces and memories are those ? The film encourages the audience to interrogate assumptions about gender, memory, performance, and death.
Press Play dir. Kym McDaniel
6 minutes, digital, 2016
Press Play is the appropriation of home movie footage as a personal exploration into my childhood and psychological trauma. Discernment becomes crucial as a little girl negotiates an adult world where expectations dictate choices, or lack thereof. Materials reign as a value system while they desire to deteriorate in dreams. Cacophonous voices overpower the child’s until she regains her authority as the appropriator.
38 River Road dir. Josh Weissbach
7 min, digital, 2016
The voice of a figureless character is heard. The figure of a voiceless character is seen. A sequence of estranged voicemails is framed by unidentified events. Fear resides in the gesture of a telling.
Athyrium Filix-Femina (For Anna Atkins) dir. Kelly Egan
4.5 min, 16mm, 2016
The second in a series of “quilt films” that pay homage to the work of pioneering female artists, Athyrium filix-femina reimagines Anna Atkins’ foundational work in photography as a moving image. In 1843, Anna Atkins published the first book of photography, Photographs of British Algae: Cyanotype Impressions, an exploration of regional botany that classified different kinds of algae using direct prints of the plants. The cyanotype process was a relatively short-lived as a dominant form of photography, however, it found refuge in the domestic sphere where it was used to decorate fabric for pillows, drapes and clothing. By combining filmmaking and quilting, this film extends from the “domestication” of this photographic art by exploring experimental narrative and structural forms through the use of traditional “women’s work.” The “narrative” in this film is told through the symbolic patterning in quilt-making practices.
Foyer dir. Ismaïl Bahri
31 min, digital, 2016
At first, Foyer seems to be a projection without film, where the only thing visible is a palpitating white screen. Voices accompany this white emptiness. They are spoken by people who approach the cameraman at work on the film, questioning him about what he is doing. In turn, an amateur photographer, a curious passerby, a policeman and a group of young men all approach the man filming. As the situation develops, the discussions reveal to the spectators the principles of a film experience in progress, of the film they are actually watching. The film experience intrigues people, it interrogates and ultimately transforms the camera into a foyer (in the sense of a hearth), around which people gather, to speak, discuss and listen. At first centered on the camera, these conversations quickly reveal singular points of view, which trace the forms of a particular social and political landscape. They offer a glimpse of the context in which a tentative work experience is unfolding, searching for its way in the agitated world.