“Gone the way of the whooping crane.” Once a symbol of certain extinction, today a sign of hope. The whooping crane is here depicted in a combination of rotoscope images, slides, photographs, line drawings, and multiple exposures.
Filter Films
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Set in a bar in 1960, two women share a look that launches a fantasy encounter. An homage to the women who had the courage to explore their sexuality in the mid 20th century, and a lament for those who could not. Set to the song, “Oh Regret” by singer/songwriter Mary Lorson.
Happy Hour
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From the near silence and invisibility of late motherhood, a resolute woman attempts to help a young stranger who also finds herself at the edge of existence.
Olympia Story
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Cinema finds its accounts in an uncommon ledger, whose lines and tabulations conceal the greatest love of all.
A+
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A man wakes up to find that his face is being stolen by shadows. “Bol 3 (the Mask)” is the final of three separate encounters that make up “Bol (Speak!),” a short dramatic experimental triptych on the nature of violence. Inspired by the Pakistani Marxist poet, Faiz Ahmed Faiz’s poem “Bol”, and drawn from real events, this segment uses folk dance to comment on the increasing ubiquity and tenor of violence in South Asia. The extended triptych, “Bol (Speak!),” is also available for distribution through CFMDC.
Bol 3 (the Mask)
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A boy waits for his mother to return home. “Bol 2 (the Rape)” is the second of three separate encounters that make up “Bol (Speak!),” a short dramatic experimental triptych on the nature of violence. Inspired by the Pakistani Marxist poet, Faiz Ahmed Faiz’s poem “Bol”, and drawn from real events, this segment uses puppetry to comment on the increasing ubiquity and tenor of violence in South Asia. The extended triptych, “Bol (Speak!),” is also available for distribution through CFMDC.
Bol 2 (the Rape)
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“Even if my hands were full of truths” is the third part of a series by the artist about the legacy of former Chilean dictator Augusto Pinochet. This component is a mirror that contemplates how memory might or might not become history, using excerpts from now-declassified CIA correspondence and a photo-montage taken at the Museum of Human Rights and Memory in Santiago. Rotterdam International Film Festival, DINAMO: True/False, 2019
Even if my hands were full of truths
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A cyclist meets a stranger in the market. “Bol 1 (the Cyclist)” is the first of three separate encounters that make up “Bol (Speak!),” a short dramatic experimental triptych on the nature of violence. Inspired by the Pakistani Marxist poet, Faiz Ahmed Faiz’s poem “Bol”, and drawn from real events, this segment uses still photographs to comment on the increasing ubiquity and tenor of violence in South Asia. The extended triptych, “Bol (Speak!),” is also available for distribution through CFMDC.
Bol 1 (the Cyclist)
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We know now that in the early years of the twenty-first century this world was being watched closely by intelligences greater than man. [adapted from Orson Welles’ adaptation of HG Wells’ War of the Worlds (Orson Welles And Mercury Theatre On The Air, Columbia Broadcasting System, 8:00 To 9:00 P.M., Sunday, October 30, 1938)]
when the smog-filled wind began to howl
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“Maya Deren’s Sink” explores Deren’s concepts of space, time and form through visits and projections filmed in her LA and NY homes. Light projections in Deren’s intimate space evoke a former time and space providing entree into the homes of an influential filmmaker we will never know. The film reclaims the spaces that inspired her work in order to share it with audiences. Time and space are collapsed as film locations of the 40’s are re-imagined in the present. Performances by an actor based on Deren’s film and writing as well as overlooked biographical insights reveal a creative personality untouched by convention. Voices from the past speaking from doorways, windows and picture frames include the current L.A. and N.Y.C. home owners, Teiji Ito’s second wife, Judith Malvina, Carolee Schneemann, Ross Lipmann and others. Through collapsing time and extending space, a unique architectural portrait of the artist is created. The experimental soundtrack is compiled and augmented by the music of Teiji Ito (Maya’s third husband) and Tavia Ito, Teiji’s daughter.
Maya Deren’s Sink
