{"id":7094,"date":"2017-08-18T11:31:10","date_gmt":"2017-08-18T15:31:10","guid":{"rendered":"http:\/\/hunterword.com\/?p=7094"},"modified":"2017-12-26T11:46:06","modified_gmt":"2017-12-26T16:46:06","slug":"ny55-film-fest","status":"publish","type":"post","link":"http:\/\/hunterword.com\/index.php\/ny55-film-fest\/","title":{"rendered":"Projections<\/span> at the 55th New York Film Festival Is the Annual Showcase of Daring And Experimental Works"},"content":{"rendered":"

\"\"<\/a><\/h1>\n

Projections,<\/span> taking place October 6-9,\u00a0 is comprised of eight features and eight shorts programs presenting an international selection of film and video work that expands upon notions of what the moving image can do and be.<\/p>\n

Drawing on a broad range of innovative modes and techniques, including experimental narratives, avant-garde poetics, crossovers into documentary and ethnographic realms, and contemporary art practices, Projections brings together a diverse offering of short, medium, and feature-length work by some of today\u2019s most significant and groundbreaking filmmakers and artists.<\/p>\n

“Projections is the New York Film Festival\u2019s home for adventurous work, and our 2017 lineup attests to the sheer number and variety of ways in which our most vital artists are exploring the possibilities of cinematic language,\u201d said Dennis Lim, FSLC Director of Programming and one of the curators of Projections. \u201cWe\u2019ve extended the program by a day this year, as well as expanded the range of work on offer. My sense is that this slate includes what will be remembered as some of the year\u2019s very best and most enduring films, along with some of its boldest provocations and most startling revelations, and we\u2019re excited to present these discoveries alongside two programs of newly restored work by a pair of singular figures: Barbara Hammer and Mike Henderson.\u201d<\/p>\n

This year\u2019s lineup features 51 films, including eight features and eight programs of shorts, with eight world premieres, eight North American premieres, and 15 U.S. premieres. Among the highlights are the U.S. premiere of Caniba<\/i> by V\u00e9r\u00e9na Paravel and Lucien Castaing-Taylor, whose feature Leviathan <\/i>was presented in the Main Slate of NYFF50; Good Luck <\/i>by Projections regular Ben Russell; and the North American premieres of two films by Kevin Jerome Everson, feature Tonsler Park<\/i> and short IFO<\/i>.<\/p>\n

The lineup also features the NYFF debuts of several acclaimed visual artists, including Xu Bing’s Dragonfly Eyes<\/i>, winner of the International Critics Prize at the recent Locarno Film Festival; Ne\u00efl Beloufa’s Occidental<\/i>; and mid-length works Rubber Coated Steel<\/i> by Lawrence Abu Hamdan and The Welfare of Tom\u00e1s \u00d3 Hallissy<\/i> by Duncan Campbell; the North American premiere of Zhou Tao\u2019s The Worldly Cave<\/i>, which was included in this year\u2019s Venice Biennial; and the world premiere of Jaakko Pallasvuo\u2019s Filter<\/i>. Visual artists returning to Projections include Luke Fowler, whose Electro-Pythagoras (a Portrait of Martin Bartlett) <\/i>screens in its U.S. premiere, and Rosalind Nashashibi, whose Vivian\u2019s Garden<\/i> is one of several works in this year’s lineup first presented at documenta 14 and will screen in its North American premiere.<\/p>\n

Eighteen works will screen on 16mm, including all 13 of this year\u2019s repertory selections, which showcase the work of experimental cinema pioneers Barbara Hammer and Mike Henderson, preserved by the Academy Film Archive.<\/p>\n

Projections also showcases returning filmmakers Ephraim Asili (Fluid Frontiers<\/i>), Sky Hopinka (Dislocation Blues<\/i>), Sara Magenheimer (Art and Theft<\/i>), Jodie Mack (Wasteland No. 1: Ardent, Verdant<\/i>), Takashi Makino (On Generation and Corruption<\/i>), Steve Reinke (Semen Is the Piss of Dreams<\/i>), Fern Silva (Ride Like Lightning, Crash Like Thunder<\/i>), and 2012 Kazuko Trust Award winner Michael Robinson (Onward Lossless Follows<\/i>). NYFF debut artists also include Pia Borg (Silica<\/i>), Jorge J\u00e1come (Flores<\/i>), Peter Burr (Pattern Language<\/i>), Nazli Din\u00e7el (Shape of a Surface<\/i>), Charlotte Prodger (BRIDGIT<\/i>), Ayo Akingbade (Tower XYZ<\/i>), Marta Mateus (Barbs, Wastelands<\/i>), and a few Film Society of Lincoln Center alums\u2014Benjamin Crotty (Division Movement to Vungtau<\/i>), who was in New Directors\/New Films in 2015, and Narimane Mari (Le fort des fous<\/i>), whose work has screened in the Film Society\u2019s Art of the Real festival.<\/p>\n

This year, the NYFF is proud to continue its collaboration with MUBI. The curated streaming platform will be the dedicated sponsor of the Projections section for the third consecutive year. After the completion of the festival, MUBI will proudly present a selection of titles from this year’s program, making these essential works available to audiences across the globe. Details on the films and schedule will be announced at a later date.<\/p>\n

Projections is curated by Dennis Lim (FSLC Director of Programming) and Aily Nash (independent curator). Shelby Shaw is Program Coordinator. Thomas Beard (FSLC Programmer at Large) and Rachael Rakes (FSLC Programmer at Large) serve as Program Advisors. The curators wish to thank Jordan Cronk, James N. Kienitz Wilkins, Mark Toscano, and the Andy Warhol Foundation.<\/p>\n

Projections tickets\u00a0are $15 for General Public and $10 for Members & Students. A Projections\u00a0All Access Pass will also be available for purchase. Visit\u00a0filmlinc.org\/NYFF<\/a>\u00a0for more information.<\/p>\n

Tickets for the 55th New York Film Festival will go on sale\u00a0September 10 at noon. Becoming a Film Society Member at the Film Buff Level or above provides early ticket access to festival screenings and events ahead of the general public, along with the exclusive member ticket discount and brand new member benefits and offers available throughout NYFF. Learn more at\u00a0filmlinc.org\/membership<\/a>.<\/p>\n

For even more access, VIP passes and packages offer the earliest opportunities to purchase tickets and secure seats at some of the festival’s biggest events including Opening and Closing Nights, and Centerpiece. VIP passes also provide access to many exciting events, including the invitation-only Opening Night party, Filmmaker Brunch, and VIP Lounge. Benefits vary based on the pass or package type purchased. VIP passes and packages are on sale now. Learn more at\u00a0filmlinc.org\/packages<\/a>.<\/p>\n

 <\/p>\n

FILMS & DESCRIPTIONS<\/u><\/b><\/h2>\n
\"\"<\/a>

Good Luck by Ben Russell, France\/Germany, 2017, 143m, U.S. Premiere. Picture, courtesy Film Society of Lincoln Center<\/p><\/div>\n


\n<\/u><\/b>All films screen digitally at the Elinor Bunin Munroe Film Center (144 W. 65th St.) unless otherwise noted.<\/i><\/p>\n

Caniba<\/b>
\nV\u00e9r\u00e9na Paravel and Lucien Castaing-Taylor, France, 2017, 90m
\n<\/b>U.S. Premiere
\n<\/b>The latest by the makers of Leviathan<\/i> (NYFF50) is a harrowing engagement with the sheer presence of a man who did the unthinkable: Issei Sagawa, who became a tabloid magnet after killing and cannibalizing a woman in Paris in 1981. Caniba <\/i>moves past sensationalism to immerse viewers in an unnervingly intimate encounter with Sagawa, who has since lived off his notoriety (as a sexploitation star and manga author), and his brother and primary caretaker. The filmmakers use this modern-day instance of cannibalism, long a subject of anthropological study, to raise questions about repulsion, desire, madness, and more. Audacious and unflinching, Caniba<\/i> compels us to reckon with the most extreme limits of human behavior.
\nSunday, October 8, 7:15pm
\n<\/b>Monday, October 9, 8:45pm<\/b><\/p>\n

Dragonfly Eyes<\/b>
\nXu Bing, China, 2017, 81m
\n<\/b>U.S. Premiere
\n<\/b>Chinese visual artist Xu Bing\u2019s ambitious debut feature follows an ill-fated romance through a frightening and faceless urban environment, using only closed-circuit surveillance footage. Constructing a fictitious narrative from real-world encounters and frequently spectacular images, Xu turns the story of a young man attempting to relocate his object of desire into a cogent analysis of postmodern identity and digitally mediated communication.
\nSunday, October 8, 9:30pm
\n<\/b>Monday, October 9, 5:15pm<\/b><\/p>\n

Electro-Pythagoras (a Portrait of Martin Bartlett)<\/b>
\nLuke Fowler, U.K.\/Canada, 2017, 45m
\n<\/b>U.S. Premiere
\n<\/b>The life and work of highly influential, yet little known, Canadian composer and microcomputer pioneer Martin Bartlett is resurrected in this lovingly constructed biographical essay. Archival footage finds Bartlett at home, at work, and onstage, while voiceover readings of the proudly out artist\u2019s reflections on his place in the era\u2019s gay community convey a sense of intimate, holistic personal history.
\nPreceded by:
\nVivian\u2019s Garden
\n<\/b>Rosalind Nashashibi, <\/b>U.K., 2017, 30m
\n<\/b>North American Premiere
\n<\/b>Deep in the Guatemalan Highlands, Swiss-Austrian artists Vivian Suter and Elisabeth Wild live in a garden villa. Nashashibi captures the complexity of their unorthodox microcosm, which is dominated by their curiously intimate mother-daughter dynamic as well as the keen sense of dependency seen in their relationship with the Mayan domestic workers.
\nSunday, October 8, 5:00pm<\/b><\/p>\n

Le fort des fous<\/b>
\nNarimane Mari, France\/Algeria\/Greece\/Germany\/Qatar, 2017, 140m
\n<\/b>In this shape-shifting hybrid feature, Algerian citizens\u2019 memories of their country\u2019s occupation are brought to life via resurrected military reports and re-enactments of France\u2019s decades-long colonial project. As the film moves into a more dramatic mode, two characters from the first act join up with a small community that has sought refuge along the coast. But utopia proves fleeting, and the film, seeming to sense their fate, reinvents itself yet again as documentary.
\nMonday, October 9, 5:30pm
\n<\/b><\/p>\n

Good Luck<\/b>
\nBen Russell, France\/Germany, 2017, 143m
\n<\/b>U.S. Premiere
\n<\/b>In his first solo feature in eight years, Ben Russell takes us deep into the unforgiving copper mines of Serbia. When we emerge, we\u2019re thousands of miles away, amongst an illegal band of gold miners in the Suriname jungle. The physical demands of labor, as well as the transformative power of music, connect these communities, each equally fortified by the realities of capital and a spirit of masculine camaraderie.
\nSaturday, October 7, 6:15pm
\n<\/b>Sunday, October 8, 7:30pm<\/b><\/p>\n

Occidental<\/b>
\nNe\u00efl Beloufa, France, 2017, 74m
\n<\/b>U.S. Premiere
\n<\/b>In a boho Parisian hotel, two sexually and politically ambiguous Italians romp through a succession of blatantly artificial, anachronistically decorated set pieces, stoking the prejudices of staff members and fellow guests. Outside, riots rage and protesters march, threatening to spill into the increasingly feverish atmosphere gathering indoors. French-Algerian artist Ne\u00efl Beloufa\u2019s second feature\u2014reminiscent of films by Bertrand Bonello and the stage-derived works of Alain Resnais\u2014confirms the arrival of a uniquely provocative, socially attuned filmmaker.
\nFriday, October 6, 8:45pm<\/b><\/p>\n

Tonsler Park<\/b>
\nKevin Jerome Everson, USA, 2017, 80m
\n<\/b>North American Premiere
\n<\/b>Election Day, 2016. Kevin Jerome Everson and his 16mm camera quietly observe a community of mostly African-American voters and volunteers at a local polling precinct in Charlottesville, Virginia. Emerson\u2019s film captures everyday faces and the general optimistic atmosphere with a casual formal elegance.
\nSaturday, October 7, 4:00pm<\/b><\/p>\n

The Worldly Cave
\n<\/b>Zhou Tao, China, 2017, 48m
\n<\/b>North American Premiere
\n<\/b>Anonymous figures are diminished against unforgiving environs, both natural and manmade, in Zhou\u2019s expansive cross-continental diary, featuring monumental views of the Incheon Sea, the Balearic island of Menorca, and the Sonoran Desert that serve to visualize the infinitesimal stature of the human race.
\nShowing on loop at EBM Amphitheater:
\n<\/b>Friday, October 6 \u2013 Monday, October 9, 12:00pm\u20136pm & 9:00pm\u201311:00pm<\/b><\/p>\n

Barbara Hammer Program
\n<\/u><\/b>Monday, October 9, 3:00pm
\n<\/b>TRT: 82m
\n<\/b>A pioneer of experimental cinema, Barbara Hammer has spent much of her five-decade career deconstructing gender and sexuality through material examinations of the celluloid image and representations of the female body onscreen. This program of 16mm films combines her surreal, sexualized 1970s fantasias with the forays into poetic nonfiction and the trailblazing experiments with optically printed visuals she helped popularize throughout the 1980s. Program includes Psychosynthesis<\/i>, Women I Love<\/i>, and Audience<\/i>, preserved by Electronic Arts Intermix and the Academy Film Archive through the National Film Preservation Foundation\u2019s Avant-Garde Masters Grant program and The Film Foundation. Funding provided by the George Lucas Family Foundation; and Still Point <\/i>and No No Nooky T.V.<\/i>, preserved by the Academy Film Archive.<\/p>\n

Mike Henderson Program<\/b>
\n<\/u>Sunday, October 8, 2:30pm
\n<\/b>TRT: 75m
\n<\/b>A singular cinematic figure, San Francisco’s Mike Henderson became one of the first independent African-American artists to make inroads into experimental filmmaking in the 1960s. Henderson\u2019s work throughout the 1970s and 1980s, from which this program of 16mm films is culled, thrums with a sociopolitical, humorous sensibility that lends his small-scale, often musically kissed portraits (which he later dubbed \u201cblues cinema\u201d) a personal, artisanal quality. Program includes MONEY, Dufus (aka Art), The Shape of Things, The Last Supper, When & Where, Down Hear, Mother\u2019s Day, <\/i>and Pitchfork and the Devil.<\/i> All films preserved by the Academy Film Archive.<\/p>\n

Program 1: SPECULATIVE SPACES<\/b>
\n<\/u>Friday, October 6, 4:00pm
\n<\/b>Saturday, October 7, 5:15pm
\n<\/b>TRT: 76m<\/b><\/p>\n

Division Movement to Vungtau<\/b>
\nBenjamin Crotty and Bertrand Dezoteux, France, 2016, 4m
\n<\/b>U.S. Premiere
\n<\/b>In Crotty and Dezoteux\u2019s cheeky and damning political patchwork, a quartet of dancing, computer-animated fruits infiltrate amateur footage shot by soldiers during the Vietnam War.<\/p>\n

Wherever You Go, There We Are<\/b>
\nJesse McLean, USA, 2017, 12m
\n<\/b>North American Premiere
\n<\/b>Assisted by a buoyant electro-acoustic soundtrack, McLean maps an evocative cross-country travelogue through elegantly illustrated postcards and the strangely intoxicating language of junk emails.<\/p>\n

IFO<\/b>
\nKevin Jerome Everson, USA, 2017, 10m
\n<\/b>North American Premiere
\n<\/b>In Everson\u2019s hometown of Mansfield, Ohio, multiple UFO sightings yield both passionate firsthand accounts and detailed reflections; meanwhile, suburban youths raise their arms toward the heavens in becalmed surrender.<\/p>\n

Silica<\/b>
\nPia Borg, Australia\/U.K., 2017, 23m
\n<\/b>North American Premiere
\n<\/b>An unseen location scout explores an opal mining town in South Australia in Pia Borg\u2019s sci-fi-laced essay film, which finds in this semi-deserted region both the traces of indigenous culture and remnants of cinema history.<\/p>\n

Flores<\/b>
\nJorge J\u00e1come, Portugal, 2017, 26m
\n<\/b>U.S. Premiere
\n<\/b>Island life, love, and labor are captured in vivid detail in this speculative fiction, in which two soldiers speak in voiceover about the over-proliferation of hydrangea flowers on their isolated Portuguese island in the Azores.<\/p>\n

Program 2: PRESENT TENSE
\n<\/u><\/b>Friday, October 6, 6:30pm
\n<\/b>Saturday, October 7, 7:30pm
\n<\/b>TRT: 76m<\/b><\/p>\n

Pattern Language<\/b>
\nPeter Burr, USA, 2017, 10m
\n<\/b>Architect Christopher Alexander’s design theories are applied towards a generative video game labyrinth, resulting in this rhythmic animation made of rippling, skipping, and strobing arrays of light infused with programmatic digital pixelation.<\/p>\n

.TV<\/b>
\nG. Anthony Svatek, USA\/Tuvalu\/New Zealand\/France, 2017, 22m
\n<\/b>World Premiere
\n<\/b>The much sought-after, two-letter web domain suffix of the title is examined as both a form of capital and an emblem of a country on the brink of a climate-induced catastrophe in this simultaneously humorous and illuminating essay film centered on the environmentally contentious Pacific Islands of Tuvalu.<\/p>\n

disruption<\/b>
\nBelit Sa\u011f, Netherlands, 2016, 5m
\n<\/b>World Premiere
\n<\/b>In the span of a short walk, images and information flow ceaselessly into view as our increasingly digitized lives absorb disparate movie and media moments, from the warmly humorous to the coldly clinical.<\/p>\n

Dislocation Blues<\/b>
\nSky Hopinka, USA, 2017, 17m
\n<\/b>The Standing Rock protests are the starting point for Ho-Chunk artist Sky Hopinka\u2019s inquiry into identity, community, and mass media. Against twilit images of the Dakota landscape, the film frames present-day traumas through distinct first-person perspectives and reflects on the threatened environment and the complex social realities of the resistance camps.<\/p>\n

Rubber Coated Steel<\/b>
\nLawrence Abu Hamdan, 2016, 21m
\n<\/b>North American Premiere
\n<\/b>Abu Hamdan, an artist and Forensic Architecture researcher, made an audio analysis to ascertain whether Israeli soldiers used rubber or live bullets in the murder of two Palestinian teens. Through the frame of a speculative court proceeding, the video acts as a tribunal for the case, which includes audio testimony and onscreen forensic animations.<\/p>\n

Program 3: THE SHAPES OF THINGS<\/b>
\n<\/u>Saturday, October 7, 12:00pm
\n<\/b>Sunday, October 8, 3:15pm
\n<\/b>TRT: 78m<\/b><\/p>\n

The Crack-Up<\/b>
\nJonathan Schwartz, USA, 2017, 16mm, 18m
\n<\/b>World Premiere
\n<\/b>Schwartz\u2019s poetic 16mm work meditates on the sights and sounds of slowly crumbling glaciers, charting an interior dance between desperation and hope. The carefully deployed superimpositions, strident soundtrack, and contrasting tones of intensity and tranquility suggest the unpredictable rhythms of metaphysical transformation.<\/p>\n

Saint Bathans Repetitions
\n<\/b>Alexandre Larose, Canada, 2016, 16mm, 20m
\n<\/b>U.S. Premiere
\n<\/b>A series of cinematic portraits shot in domestic spaces in a former gold mining town in New Zealand expand into a tapestry of glistening natural light and vaporous movement, created via a painstaking process of in-camera layering effects.<\/p>\n

Shape of a Surface<\/b>
\nNazli Din\u00e7el, Turkey, 2017, 16mm, 9m
\n<\/b>Shooting on 16mm amidst the Aphrodisias ruins in western Turkey, Din\u00e7el refracts multiple epochs of religious history with mirrors and occluded space, finding figural as well as metaphorical power in the human body\u2019s place within the landscape.<\/p>\n

Wasteland No. 1: Ardent, Verdant<\/b>
\nJodie Mack, USA, 2017, 16mm, 5m
\n<\/b>U.S. Premiere
\n<\/b>Jodie Mack\u2019s bracing 16mm montage film juxtaposes gleaming close-ups of electrical circuit boards with hyper-saturated images of a flower-littered landscape. In its rapid-fire presentation, the film offers a swift metaphorical representation of technology\u2019s inexorable march.<\/p>\n

On Generation and Corruption<\/b>
\nTakashi Makino, Japan, 2017, 26m
\n<\/b>In this Aristotle-inspired audiovisual panorama, a fathomless void slowly accumulates rippling digital textures, and waves of watercolor pastels wash atop barely perceptible images of natural phenomena. When the darkness returns, only the droning soundscape is left to point the way forward.<\/p>\n

Program 4: FIRST PERSON<\/b>
\n<\/u>Saturday, October 7, 2:00pm
\n<\/b>Sunday, October 8, 5:00pm
\n<\/b>TRT: 76m<\/b><\/p>\n

Art and Theft<\/b>
\nSara Magenheimer, USA, 2017, 7m
\n<\/b>World Premiere
\n<\/b>Magenheimer\u2019s video explores the bounds of narrative and the illusion of received wisdom in the seven minutes and twenty-two seconds it takes to rob a house. Here, images of medieval art, popular cinema, and \u201clive\u201d news reportage speak candidly to the constructedness of all storytelling traditions.<\/p>\n

Filter<\/b>
\nJaakko Pallasvuo, Finland\/USA\/Germany, 2017, 25m
\n<\/b>World Premiere
\n<\/b>Mixing crude animation, 3D modeling, and faux filmic textures in a self-reflexive essay on digitally abetted nostalgia, this playful work of fair use pastiche refracts all manner of postmodern touchstones (David Foster Wallace, Talking Heads, Reality Bites<\/i>) into an aesthetic interrogation of its own methodology, resulting in, to paraphrase one onscreen subject, a critique of a critique of a critique.<\/p>\n

Semen Is the Piss of Dreams<\/b>
\nSteve Reinke, USA\/Canada, 2016, 7m
\n<\/b>In Reinke\u2019s latest provocation, the words of author Herv\u00e9 Guibert are made flesh through a montage of \u201chuman events\u201d that work to collapse the boundaries between the private and public, the perverse and the prosaic.<\/p>\n

Year<\/b>
\nWojciech B\u0105kowski, Poland, 2017, 6m
\n<\/b>World Premiere
\n<\/b>B\u0105kowski\u2019s strangely personal, nostalgia-laced video combines the Polish animator\u2019s love of everyday domestic objects and geometric aesthetics with a flickering synth score out of an eighties urban crime film.<\/p>\n

BRIDGIT<\/b>
\nCharlotte Prodger, U.K., 2016, 32m
\n<\/b>Prodger examines issues of gender, sexuality, and creativity in this first-person essay film, shot in and around the Scottish Highlands and named for the Neolithic goddess of springtime.<\/p>\n

Program 5: URBAN RHAPSODIES<\/b>
\n<\/u>Sunday, October 8, 12:00pm
\n<\/b>Monday, October 9, 3:30pm
\n<\/b>TRT: 75m<\/b><\/p>\n

Tower XYZ<\/b>
\nAyo Akingbade, U.K., 2016, 3m
\n<\/b>U.S. Premiere
\n<\/b>A visual guide to the under-acknowledged multiethnicity of the London borough Hackney, Tower XYZ<\/i> skips to the beat of the city\u2019s vibrant youth culture and communal spirit, offering up a rebel cry for a new generation: \u201cLet\u2019s get rid of the ghetto!\u201d<\/p>\n

Ride Like Lightning, Crash Like Thunder<\/b>
\nFern Silva, USA, 2017, 16mm, 9m
\n<\/b>North American Premiere
\n<\/b>Through softly textured 16mm photography and regional iconography, Silva offers a modernist reflection on two of upstate New York\u2019s most storied 19th century touchstones\u2014the landscape painters of the Hudson River School and the legend of Rip Van Winkle\u2014nodding to a few musical heroes along the way.<\/p>\n

Fluid Frontiers<\/b>
\nEphraim Asili, USA, 2017, 23m
\n<\/b>U.S. Premiere
\n<\/b>Visually tracing the 19th-century Windsor-Detroit slave pass, with on-site readings of notable texts by many of Motor City\u2019s most storied African-American poets, Asili deftly captures the city not simply as a repository of memory but as a landscape of living history.<\/p>\n

Onward Lossless Follows<\/b>
\nMichael Robinson, USA, 2017, 17m
\n<\/b>U.S. Premiere
\n<\/b>Robinson\u2019s latest work of cinematic excavation uncovers the darkness inherent even in life\u2019s most banal images and encounters. It\u2019s an unsettling study in duality\u2014between the earthbound and the cosmic, the found and forgotten, the rural and domestic, the verbal and written.<\/p>\n

Aliens<\/b>
\nLuis L\u00f3pez Carrasco, Spain, 2017, 23m
\n<\/b>U.S. Premiere
\n<\/b>In this short nonfiction portrait, Tesa Arranz, one-time leader of pioneering Spanish new wave band Zombies, reminisces about her sexual and political conquests, while dozens of her recent paintings are examined by Carrasco\u2019s inquisitive camera.<\/p>\n

Program 6: THE FORGOTTEN<\/b>
\n<\/u>Monday, October 9, 1:00pm
\n<\/b>Monday, October 9, 8:00pm
\n<\/b>TRT: 77m<\/b><\/p>\n

Barbs, Wastelands
\n<\/b>Marta Mateus, Portugal, 2017, 25m
\n<\/b>North American Premiere
\n<\/b>In this accomplished debut, peasants of the Alentejo region of Portugal stand in stylized tableaux and speak to local youths of the Carnation Revolution, the postwar agrarian reform movement, and the ghosts of a postcolonial struggle that haunt the landscape to this day.<\/p>\n

Fantasy Sentences<\/b>
\nDane Komljen, Germany\/Denmark, 2017, 17m
\n<\/b>U.S. Premiere
\n<\/b>In a serene meditation on image-making and the slippery nature of storytelling, Komljen ominously mingles anonymous home video footage with images of contemporary Ukraine\u2019s desolate landscapes.<\/p>\n

Missing In-Between the Physical Proper<\/b>
\nOlivia Ciummo, USA, 2017, 6m
\n<\/b>World Premiere
\n<\/b>A prismatic collection of re-photographed images\u2013\u2013of deserts and oceans, plants and animals\u2013\u2013are disrupted and transformed by an array of color filters, soft synth accompaniment, and familiarly boorish messages lifted from the online world.<\/p>\n

The Welfare of Tom\u00e1s \u00d3 Hallissy<\/b>
\nDuncan Campbell, U.K.\/Ireland, 2016, 31m
\n<\/b>U.S. Premiere
\n<\/b>Campbell\u2019s fictional narrative, concerning a pair of American anthropologists en route to the Irish village of D\u00fan Chaoin, expands into a reflective investigation of filmmaking ethics and a portrait of a small community forced to confront the changing tides of traditions.<\/p>\n

 <\/p>\n

\n

FILM SOCIETY OF LINCOLN CENTER<\/u><\/b>
\nThe Film Society of Lincoln Center is devoted to supporting the art and elevating the craft of cinema. The only branch of the world-renowned arts complex Lincoln Center to shine a light on the everlasting yet evolving importance of the moving image, this nonprofit organization was founded in 1969 to celebrate American and international film. Via year-round programming and discussions; its annual New York Film Festival; and its publications, including\u00a0Film Comment<\/i>, the U.S.\u2019s premier\u00a0magazine\u00a0about films and film culture,\u00a0the Film Society endeavors to make the discussion and appreciation of cinema accessible to a broader audience, as well as to ensure that it will remain an essential art form for years to come.<\/p>\n

The Film Society receives generous, year-round support from Shutterstock, the National Endowment for the Arts, and the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature. American Airlines is the Official Airline of the Film Society of Lincoln Center.<\/p>\n

Support for the New York Film Festival is generously provided by Official Partners HBO\u00ae and The New York Times<\/i>, Benefactor Partners Verizon, FilmStruck,\u00a0The Village Voice<\/i>, Dolby, and illy caff\u00e9, Hospitality Partners Loews Regency New York and RowNYC, and Supporting Partners MUBI, Fiji Water, Manhattan Portage. WABC-7, WNET New York Public Media, Variety<\/i>, The Hollywood Reporter<\/i>, Deadline Hollywood, JCDecaux, and The Mayor’s Office of Media and Entertainment serve as Media Sponsors.<\/p>\n

For more information, visit www.filmlinc.org<\/a> and follow @filmlinc on Twitter.<\/p>\n

Gregg Morris can be reached at gmorris@hunter.cuny.edu<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Projections, taking place October 6-9, is comprised of eight features and eight shorts programs includes experimental narratives, avant-garde poetics, crossovers into documentary and ethnographic realms, and contemporary art practices Short, medium, and feature-length work by some of today\u2019s most significant and groundbreaking filmmakers and artists.<\/p>\n

Read more →<\/a><\/p>\n","protected":false},"author":29,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[16],"tags":[501,502,284,503,504],"class_list":["post-7094","post","type-post","status-publish","format-standard","hentry","category-archives","tag-avant-garde-cinema","tag-avant-garde-video","tag-documentary","tag-film-and-art","tag-groundbreaking-filmmakers-and-artists"],"_links":{"self":[{"href":"http:\/\/hunterword.com\/index.php\/wp-json\/wp\/v2\/posts\/7094","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/hunterword.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/hunterword.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/hunterword.com\/index.php\/wp-json\/wp\/v2\/users\/29"}],"replies":[{"embeddable":true,"href":"http:\/\/hunterword.com\/index.php\/wp-json\/wp\/v2\/comments?post=7094"}],"version-history":[{"count":17,"href":"http:\/\/hunterword.com\/index.php\/wp-json\/wp\/v2\/posts\/7094\/revisions"}],"predecessor-version":[{"id":8286,"href":"http:\/\/hunterword.com\/index.php\/wp-json\/wp\/v2\/posts\/7094\/revisions\/8286"}],"wp:attachment":[{"href":"http:\/\/hunterword.com\/index.php\/wp-json\/wp\/v2\/media?parent=7094"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/hunterword.com\/index.php\/wp-json\/wp\/v2\/categories?post=7094"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/hunterword.com\/index.php\/wp-json\/wp\/v2\/tags?post=7094"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}