https://www.prismaticground.com/archive daily 0.75 2026-03-31 https://www.prismaticground.com/archive/year-five monthly 0.5 2026-03-31 https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/15691191-f010-44e1-9224-55fe4db645e5/6888e552-2383-4bfa-9e6d-ee5a98f44c2d.jpg Archive - Archive: Year Five https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774027731056-820YDQJFRDVXCUZTCLRT/PalestineWillWin.png Archive - Archive: Year Five - Palestine Vaincra (Palestine Will Win) Jean-Pierre Olivier de Sardan (1969, 29 min) This French agitprop ode to the Palestinian struggle was thought lost until recently rediscovered in the Third World Newsreel collection by archivist Draye Wilson. Composed of still photographs and a bit of Vietnam footage from Joris Ivens, its re-emergence echoes a call for global solidarity. https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774027914073-SPFIMSEWBYYT877RQCK1/YourTouch1.jpg Archive - Archive: Year Five - Your Touch Makes Others Invisible Rajee Samarasinghe (2025, 70 min) Sri Lanka ranks among the highest in the number of enforced disappearances in the world and most of the disappeared are Tamils. Fusing allegorical magic realism and investigative documentary, and made collaboratively with impacted locals clandestinely in a region still occupied by the military, this film is a lyrical examination of these missing persons through 26 years of civil war in Sri Lanka. The nonfiction elements are structured by a fictional narrative thread which tells the surreal tale of a mother who loses her son to a supernatural entity plaguing her community – a nod to the actual disappearances in the region. Followed by a Q&A with Rajee Samarasinghe. https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774030237650-DJC2E11WJ06Q7D7OCYUA/BlackScreenToo.jpeg Archive - Archive: Year Five - A Black Screen Too (16mm) Rhayne Vermette (2024, 2 min) A meticulous sequel to the filmmaker’s Black Rectangle, screened a new 16mm print. https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774030241985-LFW20HDNTC20IY8LZC4I/AdieuUgarit.png Archive - Archive: Year Five - Adieu Ugarit Samy Benammar (2024, 16 min) In 2012, Mohamad had witnessed his best friend gunned down by an armed militia on the outskirts of Damascus, Syria; the blood spilled into the lake contaminated his memory. Ten years later, the reflections on the Laurentian waters bring back Mohamad's trauma. I asked him if he'd like to dig out the memories, to repair the pain by retreating for a few days into the most distressing calm possible for him. He tells us about death, immigration and anger. We wonder how and why we should tell this story. —Samy Benammar https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774030244463-N46289MO0PFZ8IUNQBMR/WinterPortrait.jpg Archive - Archive: Year Five - Winter Portrait Fernando Saldivia Yanez (2024, 9 min) A misty afternoon returns a Mapuche couple to their wedding video. In their civil ceremony, they are noted as one of only two couples married in the indigenous language of Mapudungun. —Fernando Saldivia Yanez https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774030247594-M8IL46V89U5UGF17IU5E/Buseok.jpg Archive - Archive: Year Five - Buseok Kyujae Park (2024, 18 min) A man searches for memories of his family's past, alternating between Geomeunyeo, Buseok Temple, and his grandmother's house, all of which are located along a straight line on the map. Geomeunyeo is a rock located in the reclaimed area of Buseok, Seosan, South Korea. It was originally a reef that was exposed above sea level, but is now above ground. The name of Buseok, which means floating rock, is said to be derived from Geomeunyeo. —Kyujae Park https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774030250876-ESDN31B7JVYYQO4DUZSR/How+He+Died+is+Not+Controversial+Still+06.jpg Archive - Archive: Year Five - How He Died is Not Controversial Gio Lingao (2025, 14 min) Days after the 2022 Philippine elections, a filmmaker lies to the police about making a film, just when a protest was put to a halt. Upon the retrieval of his deleted recordings of landscapes, some Filipino children began to experience a spectral figure from the dark side of history — which have taken away their ability to read and speak, and their innate sense of local language, as vengeful spirits escape and are reborn through an oceanarium underground somewhere in Manila. —Gio Lingao https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774030254389-A1LX7SXPCOCPEH4XA4CQ/EmptyRider.jpg Archive - Archive: Year Five - Empty Rider  Lawrence Lek (2025, 15 min) Sentient self-driving car Vanguard-3181 stands trial for attempting to murder their parent company’s CEO. Rendered from the perspective of a surveillance drone, the project explores the legal and existential dilemmas that emerge from self-aware AI. —Lawrence Lek https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774466392110-K5UF5Q1RX3RJM56F8VV5/May+the+Soil+Be+Everywhere.jpg Archive - Archive: Year Five - May the Soil Be Everywhere Yehui Zhao (2025, 96 min) In a remote Chinese village, a peasant family endured wars, the communist revolution, and the deadliest famine. Persecution and hardship eventually forced the family to scatter. Against the backdrop of China’s rapid urbanization, the filmmaker sets out to unearth her family’s enduring bond with this long-forgotten village, hidden deeply in the vast mountain range of Loess Plateau. —Yehui Zhao https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774466457328-F9L85VB4IVG6INTPNYYX/RhythmofaFlower.jpeg Archive - Archive: Year Five - Rhythm of a Flower  Amit Dutta (2024, 83 min) Kumar Gandharva, a child prodigy who subsequently became one of the finest and most original geniuses of Indian classical music, was struck by tuberculosis at the height of his abilities. For years, he lay in bed, barred from using his lungs, unsure if he would ever be able to rise or sing again. Meanwhile, his senses were gathering sounds from nature, from distant folk melodies, and from every vibration of life. Sometimes he practiced, singing so softly that it was hardly audible beyond his bed. This film takes this single moment of him lying on his sick bed and expands it, where his life of music and contemplation moves like a dream. When he rises after six years in bed, with only one lung spared, he writes, sings, and teaches again, giving voice to the six long years of silence and bridging the old and new with visionary insights. —Amit Dutta Rhythm of a Flower is celebrated Indian filmmaker Amit Dutta's first feature-length animated film. https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774466530342-2WB61YKJ2FX2L58ESJBB/thunderland.jpg Archive - Archive: Year Five - Thunderland, as a matter of fact (Y'a Matière au Pays des Éclairs) Charles-André Coderre and Frédéric Boisclair (2024, 45 min) Thunderland, as a matter of fact is an audiovisual performance combining soundscapes by musician Frédéric Boisclair with live 16mm projections by filmmaker Charles-André Coderre. The performance focuses on the hydroelectric, aluminum and pulp and paper plants located in Shawinigan, Mauricie. The project's initiator, Frédéric Boisclair, comes from a family of factory workers at these plants. Composed of original material and 16mm archival footage taken from corporate films shot in the region's factories, Thunderland, as a matter of fact examines the various places and materials specific to the Mauricie region's collective industrial imagination. —Charles-André Coderre https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774466507096-Z3ZLBQL4QGV390KR0EYR/EarlySun.jpg Archive - Archive: Year Five - The Early Sun, Red as a Hunter’s Moon Adam Piron (2025, 13 min) An exercise in adjusting the moving image to an interpretation of time as it is perceived within the Kiowa philosophy: a circular dialogue between the mythic, the historical, and personal reflection. THE EARLY SUN, RED AS A HUNTER'S MOON follows this temporal tradition in an interpolation of Kiowa lore in excerpts from N. Scott Momaday's The Way to Rainy Mountain, a reunion in Portugal between the filmmaker and their friend after 20 years, and a historical attempt to decode a cryptic letter from 1890 with “hieroglyphic script” that arrived at Pennsylvania’s Carlisle Indian Industrial School sent from a reservation in the Oklahoma Territory to a Kiowa student named Belo Cozad. Shot on expired 8mm film, the film presents a collision of fragments of time and Kiowa memory. —Adam Piron https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774466521040-91DM49PVJYI4DV9FWXZI/HalfHalt.png Archive - Archive: Year Five - Half Halt Sofia Theodore-Pierce (2025, 11 min) “pause spewing pause/ to learn the grammatical fact––/there is no going forward alone" In horsemanship a half halt is a pulse on the rein to say, hey I’m still here, holding you. It indicates something around the bend, a warning and a reassurance. Here, a series of interruptions are held together by those who catch me when I'm falling. Rosie reads their poem. Grace and I brave the dark. Camera breaks. Record skips. Lovers reunite through a viewfinder. We’re all filming each other on horseback. A meditation on intimacy in times of offscreen emergency, both personal and political. Seizures as elevators. —Sofia Theodore-Pierce https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774466503402-CP6TW1UVGZKNYGQ7YDZQ/AllSaidDone.jpg Archive - Archive: Year Five - All Said Done  Micah Weber (2025, 22 min) From the disordered-saying(s) of a lifetime, to the material tracings of an unstructured narrative, 'All said done' is less a portrait of a person than an incomplete image of class relations and affective labor. This film is dedicated to the memory of my father, the one who laughed, 'kill'. —Micah Weber https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774466507765-6C7C5V3PBEJBXRNF7RCE/ConcreteResources.png Archive - Archive: Year Five - Concrete Resources Emir West (2025, 9 min) Inseparable from its legacy as ‘the land of lakes and volcanoes’ is Nicaragua’s legacy as a ‘country of poets,’ rendering a resistance that is encountered in all physical senses. Concrete Resources (Thank you for keeping me a company of images) examines the enmeshment of poetry and violence within Nicaragua’s national identity considering U.S. intervention and extraction in the larger void of the isthmus. Through visual and sonic collage, memories of this space as one side of my family's home and the other's site of study are pulled apart and built back again using family ephemera, U.S. government archives, and surrogate landscapes. —Emir West (Text excerpt from "La ciudad deshabitada," by Ernesto Cardenal) Research and development for this project made possible by EMPAC in Troy, NY. https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774466534607-AUGEF6H5OV9FSDU3183H/Remote+Views.png Archive - Archive: Year Five - Remote Views Alexis McCrimmon (2025, 15 min) A televisual stream of consciousness assembled from archival footage set in the Black media explosion of the 1980s. A frenetic remix of public access television, video diaries, commercial mass media, and citizen journalism sequenced as short vignettes featuring musical and poetic performance, documentation of state violence, political theater and expressions of Black love. —Alexis McCrimmon https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774466965218-2R99DBZ09HEX4IWSDS56/Bhavantarana+1.JPG Archive - Archive: Year Five - Bhavantarana (Immanence) (35mm) Kumar Shahani (1991, 65 min) The first of a trilogy of ‘dance’ films (followed by The Bamboo Flute and the as-yet unreleased Priye Charushile), Bhavantarana expands on some of the modes Shahani had first explored in Khayal Gatha. The dance form is the famous Odissi, a form in Orissa that emerged from an earlier folk mode typically performed by young boys. The dancer is one of India’s leading figures, Guru Kelucharan Mahapatra. The film begins with a traditional sculptor hewing a dancer’s image from a piece of stone that he holds down with his feet, expanding from there to links from dance to sculpture, and from folk to classical forms. While several dances come from Mahapatra’s traditional repertory, the finale – the spectacular Navarasa – is choreographed specially for the film. —Ashish Rajadhyaksha Screened with permission of the XPD Division, Ministry of External Affairs, Government of India. *35mm Print from the Queensland Art Gallery | Gallery of Modern Art https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774467472774-81WL4TI12XFO12VSV1G6/Center1.jpg Archive - Archive: Year Five - Center (16mm) Burak Çevik (2024, 6 min) Made in the woods in New Hampshire at a time when I had lost focus in my life. A film that lets you experience the search for center/focus. The projectionist, provided with a set of instructions, will be part of this experience (the film) by searching and losing/finding focus as they are projecting the film. —Burak Çevik https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774467509979-UO6W889FAGQ4ZZLKIKMR/endings.jpg Archive - Archive: Year Five - endings Isiah Medina & Philip Hoffman (2024, 9 min) Trees and natural artefacts disappear in the flicker effect of landscape compositions where sweeping branches carve moving structures into the viewer's memory, and the transformations of living image threads remind us of the inexhaustible visual exuberance of meadows. —Canyon Cinema https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774467552267-1YBHOW0OM10X0E395BLS/TyphoonDiary.jpg Archive - Archive: Year Five - typhoon diary 风球日记  Grace Zhang (2024, 6 min) typhoon diary 风球日记 travels through various dream-states to explore the narrator’s personal connection to rain as a medium for both dissociation and transformation. https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774467563966-HG9QRUK5IH0IGV4IFVNE/AdriftPotentials.jpg Archive - Archive: Year Five - Adrift Potentials Leonardo Pirondi (2024, 12 min) This pseudo diary film is made of found materials from an unfinished 16mm film. 'Potenciais à Deriva' is a film started by a Brazilian artist under a pseudonym while living in exile in Los Angeles, California. Isolated shots and previously assembled scenes reveal an intention to create a mysterious film comprised of disembodied interviews, empty rooms, radio recordings, soccer games, and sudden apparitions of the filmmaker that slowly ruminates on Brazil's colonial past, North American Imperialism and the military dictatorship of the time in a paranoid and anxious manner. Be aware that the film's final version never came to exist. This version presented is my mere attempt to produce a film with these otherwise lost images. —Leonardo Pirondi https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774468167433-TAM7NRVSKD7KHC9OGS7N/TheWorldDoesn_tEnd.jpg Archive - Archive: Year Five - The World Doesn’t End When You Do marlow magdalene (2024, 10 min) California continues to destroy and rebuild itself. This collage film takes a surgical approach to carving through 60 years of California’s historical violence. It comprises footage of the L.A. riots, slaughterhouses, wildfires, mid-century Malibu, and 90s’ newsreels to unveil a cataclysmic future predicated on cycles of rebirth in the West. —marlow magdalene https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774467586433-V2P1XZA8WD1355HUQ7ER/GoBetween.jpg Archive - Archive: Year Five - Go Between (16mm) Chris Kennedy (2024, 6 min) Looking down at the Brisbane River--a play of masking and superimpositions. —Chris Kennedy https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774467638294-QJYF5N929C90ZAGHTLQU/GoodFriday.png Archive - Archive: Year Five - 受难日/Good Friday Xiaolu Wang (2025, 9 min) A dragon dance troupe, an aikido class, an ice skating rink. Three scenarios or scenes through which the sensation of falling, or learning to fall, become metaphysical ruminations on modes of existence that draw strength from letting go. https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774467643395-ZFDTORHAXIWK019IYYHJ/LasAnimas.jpg Archive - Archive: Year Five - Las Animas (16mm) Matt Feldman (2025, 14 min) A journey across the former coalfields of Las Animas County in Southeastern Colorado. In the early 1900s the region witnessed one of the bloodiest labor uprisings in U.S. history known as the Coalfield War. The conflict culminated in the Ludlow Massacre where 21 strikers and their families were murdered by the National Guard and CF&I pinkertons. After the decline of mining in the area, most former extraction sites were gradually converted into wilderness areas or flooded. It is believed that the coal fires from that era still burn somewhere deep below the landscape. —Matt Feldman https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774468655659-KXHCLXYBP130PXUC8SO2/SomeStrings1_2.png Archive - Archive: Year Five - Some Strings Pts. I & II Various Filmmakers (96 min) Filmmakers and artists from around the world have formed Some Strings, an ensemble of unreleased filmic gestures that is rooted in Palestine, where poet and teacher Refaat Alareer was targeted by Israeli strikes along with seven members of his family. In his last poem, If I Must Die, published five weeks before his murder, Refaat Alareer calls those who should live to create a kite - a long-standing object of resistance- with bits of string and Some Strings, just like each of his readers, receives it as a legacy. The kites here are a diversity of views that share a space against the silences, international indifference and continued approval of states, which are already fabricating memorial confusions about the greatest civilian massacre of the 21st century. The systematic extermination of the Palestinian people on Palestinian soil is taking place before our very eyes, and international diplomacy is failing to prevent war crimes, crimes against humanity and genocidal actions. —Narimane Mari Featuring: KHALED ABDULWAHED, WIAME HADDAD, YOUSSEF CHEBBI, CHRISTOPHE CLAVERT, SARAH BEDDINGTON, VALENTIN NOUJAÏM, YOSR GASMI, MAURO MAZZOCHI, WENDELIEN VAN OLDENBORGH & CATHLEEN SCHUSTER & MARCEL DICKHAGE, JULIE COUREL, M’HAND ABADOU DJEZAIRI & MARCEL MREJEN, AMIE BAROUH, MOHAMED BOUROUISSA, VALERIE MASSADIAN, ISMAÏL BAHRI & YOUSSEF CHEBBI, SOUMEYA AIT AHMED & NADIR BOUHMOUCH, PHILIPPE PARRENO, CLAIRE FONTAINE, ISMAËL BAHRI, PIERRE CRETON, VIRGIL VERNIER, YOHEI YAMAKADO, SAIF FRADJ & MAHSHID MAHBOUBIFAR, ALEXIA ROUX & SAAD CHAKALI, FERNANDA PESSOA, JAYCE SALLOUM, KASEU & VALERIE OSOUF, IDIT ELIA NATHAN. https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774536965597-DCYWQGHH0FEO7AVM3RPX/5587cdc9-f346-460c-9456-57d0d9e0bd2b.jpg Archive - Archive: Year Five - Dancing Othello (Brihannala Ki Khelkaki) (16mm) Ashish Avikunthak (2002, 18 min) Shakespearean theatricality meets the subtlety of Kathakali subverted in the dramatic space of street theatre to give birth to a performative 'Caliban'-Khelkali- a hybrid act of articuling the post-colonial irony of contemporary India. https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774536942627-I64HVEL06BMDG6N3G3Y7/41f48fd0-ae87-43c3-a5cb-c6c9a3c7408f.jpg Archive - Archive: Year Five - Vakratunda Swaha (35mm) Ashish Avikunthak (2010, 22 min) In 1997, I filmed a sequence - a friend immersing an idol of Ganesha at Chowpati beach, Bombay on the last day of the Ganapati festival. A year later, he committed suicide. After twelve years, I completed the film. Using his footage as the leitmotif, this film is a requiem to a dead friend. —Ashish Avikunthak https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774536944143-6KN4LKZJ3K42VMDILJH3/b81436b7-882a-4770-8732-53152445e5c0.jpg Archive - Archive: Year Five - Antaral (End Note) (16mm) Ashish Avikunthak (2005, 18 min) Three women reminisce about their times at school and rekindle and affirm old friendships. They share a strange secret about each other that is never made known to us. The film is a cinematic interpretation of Samuel Beckett's 1967 dramaticule, «Come and Go». https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774536943930-YUL03MOY1YSTQ3OCWPH9/adc0e278-82af-43a5-807a-d3d8964fa36b.jpg Archive - Archive: Year Five - Kalighat Athikatha (Kalighat Fetish) (16mm) Ashish Avikunthak (1999, 22 min) The film attemps to negociate with the duality that is associated with the ceremonial veneration of the Mother Goddess Kali-the presiding deity of Calcutta. It delves into the subliminal layers of consciousness, underlying the ritual of Kali worship. https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774468773220-167PXF7V7CGFTGW975XT/Tuktuit.jpg Archive - Archive: Year Five - Tuktuit Lindsay McIntyre (2025, 15 min) Created with handmade and manufactured emulsions, Tuktuit explores the close and enduring connections between Inuit, caribou, lichen, and land use. Lichen developers help process the images of a caribou hide being fleshed down to rawhide to make gelatin for handmade emulsion that is subsequently used to shoot the film. —Lindsay McIntyre https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774468788629-VKFM0ZFDWI0T7XI32LSI/tothemoon.jpg Archive - Archive: Year Five - To the Moon Tadhg O’Sullivan (2020, 80 min) A cinematic ode to the moon, woven from archive, poetry and song - a constantly surprising night-walk through the moonlit imagination. Structured as a lunar cycle, this cinematic ode moves through tales of love, songs of longing, myths of madness, dreams of innocence and the nightmare of colonialism, building to a timely reminder of our fragility beneath the moon's mysterious eye. —Tadhg O’Sullivan https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774468877441-K4R6X49L3CQ4KYA5A5A5/HeartShaped.png Archive - Archive: Year Five - Heart Shaped Sofia Theodore-Pierce & Grace Mitchell (2025, 13 min) Heart Shaped (Sofia Theodore-Pierce & Grace Mitchell, 2025, 13min) Heart Shaped examines the transient lives of seven guests staying at a themed hotel in Wisconsin. Self and strangers overlap through shared spaces and intimate choreography. Letters between the two filmmakers offer an additional layer of blurred identity and the erotics of collaboration. "One hand on the clit the other on the mind." —Sofia Theodore-Pierce & Grace Mitchell https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774468874283-SUU1R2TOHG0E8V04UOLM/Contact+Lens+Still+10.png Archive - Archive: Year Five - Contact Lens / 河马皮肤 Ruiqi Lu (2024, 78 min) Contact Lens imagines the emancipation of women from the confines of narrow spaces and the tedium of routine lives. Echoing the women’s yearning to break free, the film itself strives to transcend its boundaries. The movie metamorphoses the image into a fluid, feminine essence, revealing her multifaceted nature in a timeless space. —Kino Rebelde https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774468999238-H494UAHCRVOGUPCL6REF/Bamboo+Flute.JPG Archive - Archive: Year Five - Birah Bharyo Ghar Aangan Kone (The Bamboo Flute) (35mm) Kumar Shahani (2000, 84 min) Shahani’s cinematic ode to perhaps the most versatile and also, it is said, perhaps the most ancient musical instrument in the world: the humble bamboo flute. Like Bhavantarana, it brings dance together with stone sculpture, combining classical performance with tribal music to tell a civilisational story of the origins of enunciation. ‘Enunciation… precedes all concepts and the word’, he wrote in 2002 in a short essay titled ‘Film and Philosophy’, and now Shahani enunciates through legends enacted through speech, movement and stone. “Both Kalidasa in India and Rumi in Persia… thought of the bamboo flute as preceding the prana of human existence, that which imbues it with its own being and transmutes it to the Word and the object, unites it with the Beloved other”, he writes. The texts evoke a transformation from the Vedic age to the birth of Vaishnavism, e.g. the confrontation between Indra and Krishna from the Rig Veda. It includes performances by iconic dancers Alarmel Valli and Kelucharan Mahapatra. —Ashish Rajadhyaksha Screened with permission of the XPD Division, Ministry of External Affairs, Government of India. *35mm Print from the Queensland Art Gallery | Gallery of Modern Art https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774469959187-6CH3JI9WPVDDX8ITAFE7/Necessary+Trip_%C2%A9Kevin+Jerome+Everson_US_2024__courtesy+the+artist_+trilobite-arts+DAC_+Picture+Palace+Pictures+still+A.jpg Archive - Archive: Year Five - Necessary Trip Kevin Jerome Everson (2025, 5 min) Necessary Trip is about a hay-day of vice in Mansfield Ohio when it used to be called Little Chicago. *Courtesy the artist & Picture Palace Pictures Image Credit: ©Kevin Jerome Everson; courtesy the artist; trilobite-arts DAC; Picture Palace Pictures. https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774469960703-MO0RXAU8H16KMG6FRZ6C/Underground.jpeg Archive - Archive: Year Five - Underground Kaori Oda (2024, 83 min) The "shadow" begins to see fragmented memories that transcend time and place. In an underground, it touches and listens carefully to the memories of people existed. https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774470073918-FJ2GI22QYBBD1W8DBPC8/FifthSeason.png Archive - Archive: Year Five - Courtney Stephens and Shiv Kotecha present Films and Poems from the Fifth Season Feat. Courtney Stephens, Shiv Kotecha, JJJJJerome Ellis, Tiziana La Melia, Diana Hamilton, and Courtney Bush "They tell me there are four / seasons, but I believe in a fifth one" writes Etel Adnan, "which is your space / and your time." Referencing Adnan, the poet Rainer Diana Hamilton defines this fifth season as a way for poetic form to burst forth and sense the social. Featuring films and readings by filmmakers and poets, "The Fifth Season" brings together works that exceed the expectations of their genres in order to share language in modes of transfigured time. With works and performances by Courtney Bush, Jjjjjerome Ellis, Rainer Diana Hamilton, Shiv Kotecha, Tiziana La Melia, and Courtney Stephens, "The Fifth Season" is imagined as a night of exception, probing Lacan's definition of the voice as a standalone object, not unlike the eye. https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774470127314-2A5BVHY2SMZ9ANREZR0I/Kasba.jpg Archive - Archive: Year Five - Kasba (35mm) Kumar Shahani (1990, 115 min) Widely considered Shahani’s most accessible film, Kasba returns to the melodramatic mode he had earlier experimented with in his three-hour epic Tarang. Here he adapts a Chekov story set in a small township in the mountainous Kangra valley. Maniram, an old-style entrepreneur made his fortune adulterating food, has two sons. One is arrested in the city for printing counterfeit currency, the other is mentally retarded and the Shakespearean fool in the story. There are two daughters-in-law, one a canny businesswoman and the other an innocent villager. Much of the film deploys a savage irony, as e.g. the movie star Shatrughan Sinha, who plays the elder son as a small-town braggart, often plays ‘himself’ in his swaggering style. The film’s main generic achievement is to recall to the Indian cinema’s melodramatic mode its original function, of integrating marginalised peoples and their languages. —Ashish Rajadhyaksha *35mm Print from the Queensland Art Gallery | Gallery of Modern Art https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774470185934-6C83JL89Y9K5VBK1FEZ5/SomeStrings3_4.png Archive - Archive: Year Five - Some Strings Pts. III & IV Various Filmmakers (110min) “Each memory that is freed is the first step for all memories to gather” —Edouard Glissant Filmmakers and artists from around the world have formed Some Strings, an ensemble of unreleased filmic gestures that is rooted in Palestine, where poet and teacher Refaat Alareer was targeted by Israeli strikes along with seven members of his family. In his last poem, If I Must Die, published five weeks before his murder, Refaat Alareer calls those who should live to create a kite - a long-standing object of resistance- with bits of string and Some Strings, just like each of his readers, receives it as a legacy. The kites here are a diversity of views that share a space against the silences, international indifference and continued approval of states, which are already fabricating memorial confusions about the greatest civilian massacre of the 21st century. The systematic extermination of the Palestinian people on Palestinian soil is taking place before our very eyes, and international diplomacy is failing to prevent war crimes, crimes against humanity and genocidal actions. —Narimane Mari Featuring: PABLO SIGG, APICHATPONG WEERASETHAKUL, IGNIACIO AGÜERO, BANI KHOSHNOUDI, DORA GARCIA, KHRISTINE GILLARD, MOHAMMAD HAMMASH & FILIP MOMIKJ,AXELLE POISSON, KYOSHI SUGITA, MICHAËL ANDRIANALY, AUDE FOUREL, ANNE PENDERS, JERÓNIMO ATEHORTÚA ARTEAGA, IDIT ELIA NATHAN, EVA GIOLO, SEPIDEH FARSI, ERIC BAUDELAIRE & CLAIRE ATHERTON & MARIUS ATHERTON, FRANSSOU PRENANT, ELLIE GA, FRANCIS ALŸS, MARIELLE CHABAL, BEN RUSSELL, KISWENSIDA PARFAIT, KABORE, YANNICK KERGOAT, SILVIA MAGLIONI & GRAEME THOMSON, TAYSIR BATNIJI, MITRA FARAHANI. https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774470237207-VRBR57B2UO9ZU2DORGWK/Khayal+Gatha+1.JPG Archive - Archive: Year Five - Khayal Gatha (The Khayal Saga) (35mm) Kumar Shahani (1988, 103min) Moving away from the contemporary, Shahani engages with the musical form of Khayal, as represented by one of its foremost schools, the Gwalior gharana. The form came into being around the 18th Century, adapting the more classical form of Dhrupad with folk literatures and performative styles often drawn from peasant and tribal cultures. In the film a student moves through, sometimes watches, and otherwise actually enacts, several musical legends such as the folk sagas of Heer-Ranjha and Nala-Damayanti, historical sagas such as the story of Rani Rupmati and Baaz Bahadur (Queen and King of Mandu) etc. The music comes from legendary musical figures from Gwalior (Krishnarao Shankar Pandit, Sharatchandra Arolkar, Jai Balaporia and Neela Bhagwat). Shahani also uses the dance of Birju Maharaj, India’s leading Kathak dancer and the veena maestro Ustad Zia Moyuddin Dagar. Shahani explores the link between cinematic sequence and forms of musical improvisation in a visually stunning narration condensing legend, history and poetry, emphasising hybridity in all cultural practices. —Ashish Rajadhyaksha Screened with the permission of Rewati Shahani, Uttara Shahani, and Rimli Bhattacharya. *35mm Print from the Queensland Art Gallery | Gallery of Modern Art https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774537099079-GI72C3LSN3NBWCKNOJGU/LetsMakeLoveAnd.png Archive - Archive: Year Five - Let's Make Love and Listen to Death from Above  Ayanna Dozier (2023, 6 min) Part of the trilogy “It’s Just Business, Baby,” Let's Make Love and Listen to Death from Above examines the histories of various forms of body labor across the Chelsea district, specifically foregrounding the act of cruising and public sex. The film (like the trilogy) intentionally lack a soundtrack to have audiences follow what the image is doing rather than the sounds associated with the image (specifically sex). —Ayanna Dozier https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774537097191-15Z0M9NHWO4IJUKGB10F/ItsJustBusinessBaby.png Archive - Archive: Year Five - It's Just Business, Baby  Ayanna Dozier (2023, 6 min) It’s Just Business, Baby (part of the trilogy of Super 8mm shorts "It's Just Business, Baby") examines the histories of various forms of body labor across the Chelsea and Tribeca districts that was renown as a site for sex work, sex clubs, and illicit sexual activity. The titular film of the trilogy captures an encounter between a client and a working girl where the lines of care are blurred following a session. The film repeats this encounter with the same actors switching parts to trouble the relationship of power that exists between that dynamic. https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774537098140-21JN5SQJXB4HG2VU10F4/BoundedIntimacy.png Archive - Archive: Year Five - Bounded Intimacy  Ayanna Dozier (2024, 6 min) Bounded Intimacy (part of the trilogy of Super 8mm shorts "It's Just Business, Baby") examines the histories of various forms of body labor across the Chelsea and Tribeca districts that was renown as a site for sex work, sex clubs, and illicit sexual activity. Bounded Intimacy explores the seduction of a nameless woman and the camera. The relationship between the two remains unknown and ambivalent as to whether or not the encounter is "authentic." The nature of their relationship is irrelevant as the camera captures the authenticity of the desire of the encounter between the two. —Ayanna Dozier https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774537399800-3VUNMGLE73IVPTCK0TR0/Hemel.jpg Archive - Archive: Year Five - Hemel Danielle Adobi Dean (2024, 30 min) A portrait of Hemel Hempstead, where Dean was raised, unfolds as a personal essay on the town’s history as a planned community under the New Towns Act of 1946. Titled Hemel, the work’s central reference is a 1957 sci-fi horror B-movie shot in town about the arrival of a non-human entity that infiltrates the minds of residents and endangers life with a toxic black slime. Playing a composite character based on herself and the movie’s detective protagonist, Dean brings together real and imagined worlds, both past and present. Hemel blurs fiction and documentary to expand a critical reading of the colonial overtones in the original movie, while recasting its visual language to consider the race, class, and labour dynamics of a small English town in the post-Brexit context. —Danielle Adobi Dean https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774537406003-F7RJ4NIB7GB9DWVIQ640/TheSwallow.jpg Archive - Archive: Year Five - The Swallow Tadhg O’Sullivan (2024, 69 min) An artist, isolated from the world but not from her memories, unpacks the remnants of a life long-lived and tries to make sense of her own unwillingness to let go. —Tadhg O’Sullivan https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774537465788-YCHU1Q2VA6XXHNF3ELOU/AMessageFromHumboldt.jpg Archive - Archive: Year Five - A Message From Humboldt (16mm) Matt Feldman (2025, 7 min) Glances at an emptied apartment in Milwaukee drift into a psychodrama confronting fears of death and loneliness. Through the use of in-camera experiments, fractured imagery inquires into the hauntings and mysteries of the everyday. —Matt Feldman https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774537473688-T19JLAUPC3X2SIC9W2SB/TranslatingOnesOwn.jpg Archive - Archive: Year Five - Translating one's own (or the symptom to be remembered) Nicolás Onischuk (2025, 60 min) In a border crossing of register, archive and memory, Translating one's own (or the symptom to be remembered) transforms the experience of a journey into a trace. It navigates as a gesture that persists over an open wound that resonates between landscapes and the passing of the days. This personal log explores the nebulous state of those who remain in a deja vu, searching for a texture with their gaze. https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774537543713-BEDZHAMRVFKF31P4W2MJ/Cho+Seoungho.jpeg Archive - Archive: Year Five - Artist Spotlight: Cho Seoungho Guest Curated by Joshua Minsoo Kim of Tone Glow. Lyrical and visually striking, the video works of Korean artist Seoungho Cho are distinguished by a unique confluence of complex image processing and sound collage. Resonating with a highly metaphorical sensibility, Cho's single-channel tapes and installations are formalist, almost painterly explorations of subjectivity and the subconscious. The natural and urban landscapes that Cho depicts often move with a continuous fluidity, shifting from dreamlike abstractions of light to fleeting reflections of objects and people. Figures and their environments are mirrored and diffused through one another, silhouetted with a haunting anonymity that is echoed in the poetic texts and soundscapes that accompany each piece. These often tense meditations focus on the nature and cost of isolation and loneliness while integrating into a culture, landscape and language other than one's own. —Electronic Arts Intermix Featuring: Forward, Back, Side, Forward Again (1995, 11 min) + ws.3 (2003, 6 min) + Horizontal Intimacy (2010, 8 min) + I Left My Silent House (2007, 9 min) + Shifted Horizon (2009, 6 min) + Blue Desert (2011, 12 min) + Latency/Contemplation 1 (2016, 7 min) + Late August 1993 (2024, 10 min) + No Re (2024, 7 min) https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774537651071-1Z5833GXA7QV54LBIU1P/SomeStrings5_6.png Archive - Archive: Year Five - Some Strings Pts. V & VI Various Filmmakers (84 min) Filmmakers and artists from around the world have formed Some Strings, an ensemble of unreleased filmic gestures that is rooted in Palestine, where poet and teacher Refaat Alareer was targeted by Israeli strikes along with seven members of his family. In his last poem, If I Must Die, published five weeks before his murder, Refaat Alareer calls those who should live to create a kite - a long-standing object of resistance- with bits of string and Some Strings, just like each of his readers, receives it as a legacy. The kites here are a diversity of views that share a space against the silences, international indifference and continued approval of states, which are already fabricating memorial confusions about the greatest civilian massacre of the 21st century. The systematic extermination of the Palestinian people on Palestinian soil is taking place before our very eyes, and international diplomacy is failing to prevent war crimes, crimes against humanity and genocidal actions. —Narimane Mari Featuring: NEWTON IFEANYI ADUAKA, SARAH WOOD, ALI ARKADY, ALAIN KASSANDA, ANNIK LEROY & JULIE MOREL, MONICA MAURER & MILENA FIORE, PHILIP RIZK, 2024, DOUGLAS GORDON, DECLAN CLARKE, GENESIS VALENZUELA, VINCENT GUILBERT, DANIA REYMOND-BOUGHENOU, WILMARC VAL, PRIMO MAURIDI, GHASSAN SALHAB, UGO RONDINONE. https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774537896943-WWWN4ZI5JTMMQZER2KDT/Skin+Jewelry+Opacity.jpeg Archive - Archive: Year Five - A Body to Live In Angelo Madsen (2024, 98 min) The world of queer body modification and its intersection with BDSM is brought to life through this rich portrait of an artist and his philosophy of a spirit-body connection. Merging oral history with 16mm abstraction and photographic meditation, A BODY TO LIVE IN uses the life story and artworks of Fakir Musafar to guide us through processing questions of belonging and the search for an authentic way of being. https://www.prismaticground.com/archive/year-four monthly 0.5 2026-03-31 https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774274865842-AO46CZFS2LDS0JD32ESS/download%2B%25289%2529.png Archive - Archive: Year Four https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774030662016-AM8P9NNXBBMEJV0VJ4GD/halalyan.jpeg Archive - Archive: Year Four - Pre-film Poetry Reading Hala Alyan HALA ALYAN is the author of the novel "Salt Houses", winner of the Dayton Literary Peace Prize and the Arab American Book Award and a finalist for the Chautauqua Prize, as well as the forthcoming novel "The Arsonists’ City", and four award-winning collections of poetry, most recently "The Moon That Turns You Back". Her work has been published by the New Yorker, the Academy of American Poets, Lit Hub, The New York Times Book Review, and Guernica. She lives in Brooklyn with her husband, where she works as a clinical psychologist. https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774030679251-F43Y7DJWZCUQ4P0X20IO/Fertile003.jpg Archive - Archive: Year Four - Fertile Memory Michel Khleifi (99 min) Prismatic Ground kicks off its fourth edition with the CINEMATEK (Belgian Film Archive) restoration of Michel Khleifi’s Fertile Memory (1981), a visceral glimpse of everyday life in the occupied West Bank. A reading by poet Hala Alyan will commence the evening, and researcher, writer, and curator Adam HajYahia will appear to contextualize the film. An afterparty co-hosted by DJs Against Apartheid will follow at h0l0. Fertile Memory (Michel Khleifi, 1981, 99 min.) Restored DCP. In Arabic with English Subtitles. The first feature length film to be shot in the West Bank, Fertile Memory is a portrait of two Palestinian women whose individual struggles both define and transcend the dispossession that heavily determines their lives. Romia Farah—the director’s aunt—is a widowed grandmother working in an Israeli garment factory. Her tenacious personality fuels a decades-long legal battle to reclaim her expropriated land, as well as her strict adherence to patriarchal values. Sahar Khalifa is a feminist writer teaching at Birzeit University. She struggles with the double oppression of Israeli occupation and the gendered ostracization and loneliness she experiences after seeking divorce. Fertile Memory marks a distinct shift in Palestinian filmmaking, from a unified revolutionary cinema, to a capacious reflection of Palestinian society and its many individuals, contradictions, and temporalities. — Tiffany Malakooti, Bidoun “It is Khleifi’s achievement to have embodied certain aspects of Palestinian women’s lives in film. He is careful to let the strengths of Farah and Sahar emerge slowly, even if at a pace that risks losing the film the larger audience it deserves. He deliberately disappoints the expectations engendered in us by the commercial film (plot, suspense, drama), in favor of a representational idiom more innovative and – because of its congruence with its anomalous and eccentric material – more authentic.” — Edward Said https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774031186481-DZ3IJUSOJ2OUBU63XZP9/vlcsnap-2024-04-22-13h18m18s157.png Archive - Archive: Year Four - Blueprint of a Pleasure Machine Amit Dutta (25 min) When a detective is recruited to locate a secret in the bylanes of a lost film-city, little does he know that it is after all a set-up; a conspiracy to send him on a mission with no return. —Matra Publications https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774031225838-JXTBAZYR0Y2UNKWZ41L1/Photo+6+Film_Still.jpg Archive - Archive: Year Four - Amma Ki Katha Nehal Vyas (21 min) India—my nation—is being rebuilt. Her foundation is being laid on the imagined land that claims to be the birthplace of my grandmother’s God. In the mythology that she passed down to me during many summer nights, her God was magical, kind, imaginative and democratic—just like my India was supposed to be. But today, through its many retellings and reimaginings, the tale is being used as a political tool to manifest the violent desire of a Hindutva state. This film attempts to remember—as well as dream—a forgotten nation. https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774119035549-INVBAWZIJ50P4X6ZSJCC/Jikele%2BMaweni%2BNdiyahamba.png Archive - Archive: Year Four - Jikele Maweni Ndiyahamba Advik Beni (3 min) An essay film that parallels a replicated mining town of Johannesburg in California to the mines in South Africa. It serves as an indicator of how those who profiteered of mining in South Africa, the white population, where able to leave and start a whole new town based on where they came from, whereas those who work the mines, the black population, are still faced with excruciating conditions. This is seen via the archive footage of the Marikana mines massacre of 2012 contrasted over the beautiful voice of Miriam Makeba. —Advik Beni https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774031455032-RNKUP3XTFXT9D9OLFGZ8/NoStranger.jpeg Archive - Archive: Year Four - No Stranger At All Priya Sen (40 min) Over the last 2 years in Delhi starting late 2019, I wrote, filmed and recorded, as days and nights turned from collective rage and exuberance to withdrawal and solitude. The search was along the edges of disquiet and premonition, in fragments and intensities, through wandering and not-staying. Perhaps down pathways made from adjacent knots of desire, seeking solace, seeking life. This video / essay has been composed from those notes, recordings, slivers of prayers, non-intended sound, stranger-love, lamentations and extreme longing, in a city that absorbs, mirrors, tears apart, and simultaneously allays both remorse and euphoria. What happens to the energy of attachment when it has no designated place? To the glances, gestures, encounters, collaborations or fantasies that have no canon? ** These incomplete fictions, these false closures and tenuous associations, compose a timeline of the city at an angle through the time of this work. There is a shadowy sense of a protagonist who un-dreams it all; a stranger, who turns out, is no stranger at all. Somewhere I wrote: … so much power, it is difficult to move towards love. —Priya Sen Majrooh Sultanpuri translated by Baidar Bakht and Marie-Anne Erki * Lauren Berlant, from ‘Intimacies: A Special Issue’ https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774031981384-HLG7Q1FCFD139M882D0X/filmcomment.png Archive - Archive: Year Four - Film Comment Live: Writing About Avant-Garde Cinema Devika Girish, Clinton Krute, Ayanna Dozier, Amy Taubin, Genevieve Yue Avant-garde cinema, particularly in New York City, emerged in symbiosis with the film criticism that contextualized, championed, and critiqued it—and in fact, became a form of its own. Writing about work that is premised on defying formulaic intelligibility, and which invites us to reach beyond language to other modes of interpretation, can be both challenging and thrilling. And reading such criticism can be at once a glorious entryway into better appreciating experimental cinema, and an encounter with the various ways images and text can work together. Moderated by the editors of Film Comment, this panel brings together veterans of avant-garde film criticism to discuss the history of the craft, the nitty-gritty of this niche beat, and what good writing on avant-garde cinema looks like. Panelists include Amy Taubin, Genevieve Yue, and Ayanna Dozier. —Film Comment Free to attend. The conversation will be recorded and published on the Film Comment Podcast on May 14. https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774032023505-Z7SKFG4GDTJA61VPBOIV/Homing+by+Tamer+Hassan+%282%29.jpg Archive - Archive: Year Four - Homing Tamer Hassan (34 min) Centuries prior to the colonization of the Americas, Purple Martins began to nest in gourds that people hung to store food and water and became companion species for many tribes. The birds that European settlers brought with them drove Purple Martins out of their wild habitats so that now they can only nest in birdhouses that people build to prevent their extinction. Without dialogue or narration, Homing follows the migration of Purple Martins from the Amazon to the Great Lakes, between the conservationists who study them and to the houses they are dependent on for survival. —Tamer Hassan https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774032073405-ZVG368LOCSPC6MDP2XWW/Wolves.png Archive - Archive: Year Four - Wolves Aria Dean, Laszlo Horvath (26 min) Sheep, a dog, a camera and the filmmaker behind it; somewhere beyond, danger. —Inney Prakash https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774032129385-LOLRE59Z21B3AHE04UJ7/InfiniteColumnarc.jpg Archive - Archive: Year Four - An Evening with arc arc (42 min) Through film, performance, and curatorial work with Bay Area film festival Light Field, and involvement with the Black Hole Collective Film Lab, arc has forged a dynamic, multi-disciplinary practice with seriously ethical and spiritual dimensions tied to a militant political commitment. Their appearance on the evening of May 9th will occasion a combination of single channel films and double projector performance pieces yielding spectacular beauty from the fundamental material components of cinema. conical signal (2 x 16mm performance, 6min) ascensions (16mm, single channel, 8min) breathing (16m, single channel, 11min) ailleurs (16mm, single channel, 3 min) infinite column (2 x 16mm performance, 14min) https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774032198105-6GD62XSOX6WK5Q98EVWU/JustASoul1.png Archive - Archive: Year Four - Just a Soul Responding + Reading Sky Hopinka (60 min) This is a travelogue of sorts, as two friends whose lives intersect and diverge, look at the road and the vessels we use as means to traverse landscapes both contemporary and historical, and of the spirit and of the body. The title, inspired in part by Smokey Robinson’s Just My Soul Responding, refers to the passive and active ways that movement guides and shapes the routes one follows and creates in roadways and waterways long established, yet sympathetic to paths of desire and paths of refusal. Through each channel are various attempts to reconcile who we are, who we want to be, as well as who and what was lost along the way. —Sky Hopinka https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774032705538-BLVRV1F2GRUQP195HSOB/listening.jpeg Archive - Archive: Year Four - Listening In, Resounding Out Eislow Johnson & Dominic Bonelli (11 min) Through the ears of an acoustic engineer, the film explores how in the near silence of the anechoic chamber, listening is a straining toward understanding and connection. It engages with cinema as a body — one given presence and depth through sound — and a body as a resounding instrument, which listens to its own vibratory depths and amplifies its feedback. —Dominic Bonelli, Eislow Johnson https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774120667329-YOQCKTC28TEGO1OXSDFO/Photo%2B3%2Bilanga2.jpg Archive - Archive: Year Four - Ilanga Alikho (The Sun is Missing) Advik Beni (8 min) Ilanga Alikho is an experimental landscape film with an element of poetry. The film follows the son of the professional mourner who has now taken up the mantle of his father. He is confused. He does not want to mourn anymore, but it is all he knows how to do. He goes to the local flea market and purchases some chickens for a sacrificial ceremony in the name of his ancestors. Soon enough he is traversing the vast mountainous landscape of Kwa-Zulu Natal as he struggles to find a place where belongs. —Advik Beni https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774032838161-R6UIZH13VDIHIONCI9OR/Photo+2+bleared_eyes_of_blue_glass_PQJ.mov_20230123_073829.492.jpg Archive - Archive: Year Four - Bleared eyes of blue glass PARK Kyujae (9 min) The "bleared eyes of blue glass" in the title of this experimental short expand on a verbal image from Virginia Woolf's novel The Waves, considered the most experimental among the 20th-century British writer's literary works, from which the young filmmaker took inspiration for his film, borrowing passages and visions to explain his own understanding of what cinema is. A film that plays with water - precisely - and light, and yet in a very dark b&w lit up by rare flashes of colour, making a journey in the night in which the shadow of a man gradually acquires substance. —PARK Kyujae https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774032872337-6L23PHEY0GZ1QMODEBOK/Photo+4+IMG_0787.jpg Archive - Archive: Year Four - in the interval æryka jourdaine hollis o'neil (24 min) Both an intimate family portrait & cinematic collage of Black and trans collective memory and (be)longing, meditating on themes of safety, bodily autonomy and generations of compounding loss across time and media. Taking the form of a diptych, the first act interrogates the convergence of Black confrontations with police brutality and the annually increasing disparities of homicidal violence experienced by Black trans women and femmes, while the second act non-linearly traces the respective origins and evolutions of a Black non-binary trans femme scholar-artist and her late father who died unexpectedly ten years prior to filming. Organized around family VHS footage, viral media and found footage, present-day video diary using digital as well as Bolex 16mm cameras, performance, and other artifacts of an inherited personal and public archive, the film explores the continuities and cleavages of the filmmaker and her father's corresponding lived experiences, amidst the backdrop of unrelenting anti-Black, queer- and trans-antagonistic acts of violence, both state-sanctioned and otherwise and the aftermath of a deadly global pandemic. The film stands as an open-ended inquiry into what Frantz Fanon once called “the problem of time” for figuring Black life, collectivity and struggle—where past, present, blood kin and queer kin kaleidoscopically collide. —æryka jourdaine hollis o'neil https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774032919144-VTHM8I0DLOSIUDWYYN69/Photo+8+Screen_Shot_2022-11-22_at_12.14.36_AM.jpg Archive - Archive: Year Four - Behind the Sun Bentley Brown (18 min) A filmmaker explores astrophysical metaphors to make sense of a failed relationship to person and place. —Bentley Brown https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774032976088-SCWKM3QXUEIVJWNWLE85/Photo+7+BIS_Still_8.jpg Archive - Archive: Year Four - Both, instrument and sound Sharlene Bamboat (40 min) In this intimate portrait of queer life and intergenerational friendship, 80-year-old Tony describes his political activism since the 1970s, after moving from Calcutta, India to Toronto, Canada. Translated through sonic and filmic experiments, his stories and observations express the tensions inherent in solidarity and collectivity under neoliberalism. The film’s score, co-written with musicians and the film’s cast and crew, remixes and meditates on the concept of tension, and its manifestations in sex, identity, music, touch and political struggle. In the face of a growing politics and language of individualism, the film interrogates discourses and practices of solidarity and their enmeshment with friendship and love. Fragments of phone calls, conversations over shared meals, and tender moments captured on 16mm film portray the complexity of building community, and the hazards of reducing shared experiences of oppression to individual expressions of identity. —Sharlene Bamboat https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774032990210-6H10P01W3D9S1E66J009/Photo+4+barruntostill3.jpg Archive - Archive: Year Four - barrunto Emilia Beatriz (70 min) "barrunto” is a word used in Puerto Rico to refer to a bodily unrest, an omen or a forecast sensed via signals present in the environment (such as when rain is forecast through aches and pains or when ants emerge anticipating an earthquake). “Barrunto” is a way of thinking with surface and subconscious, underfoot and underground. BARRUNTO is a speculative narrative informed by poetry and theories of quantum entanglement across diasporic distance. An intimate exploration of grief and resistance in shifting landscapes of loss, from the streets to the bed; in sites of displacement, nuclear contamination, and military occupation from Scotland to Puerto Rico; from the bottom of the ocean to the planet Uranus; using digital, archival, and 16mm film hand-processed in “grief tea.” from its deep vibration tracks to the nonlinear narrative, barrunto is a film that attempts to activate sensations and modes of being with the world and in connection beyond western frameworks of knowledge and understanding. Made in collaboration with artists in Scotland and Puerto Rico including Sound Production by Claude Nouk, Music & Voiceover by Shanti LaLita, Archival Footage by Andrés Nieves and Karla Claudio Betancourt, Voices by Alicia Matthews & Harry Josephine Giles, Translation by Nicole Cecilia Delgado, Animation by Sharif Elsabagh, integrated captions consultation by Bea Webster & Ciaran Stewart, featuring poems by Gallego, Ursula Le Guin & June Jordan. —Emilia Beatriz Co-presented by Third Horizon https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774033071237-5K87ZF8LS6MGVHYQAKDF/Capital.png Archive - Archive: Year Four - Capital Basma AlSharif (17 min) A Ventriloquist walks into a bar and orders a stiff drink. The Bartender asks: will that be all? The Dummy answers: Does it look like I can speak with this hand up my ass? As Egypt syncs further into poverty and is overwhelmed by debt, new cities are being erected across the country and prisons fill with dissenting opinions. But who are these cities for and what desire or ambivalence do they inspire -- and at what cost. Since it is currently not possible to safely speak about this: a ventriloquist, songs, and advertisements describe a seemingly bygone era of fascism. Referencing Telefoni Bianchi films, a precursor to propaganda cinema under Mussolini, the legacy of building new capitals provides the material to express opinions and hope, through satire. —Basma AlSharif A sitting room amidst a white void. An elegant woman dressed in brown satin and lace. Sisi, his voice pitched down and distorted, dismisses the idea that his New Administrative Capital might never come to be. A ventriloquist tells jokes about fascism. A man calls, bringing the woman to orgasmic frenzy with the names of real estate. The relations, already strange and obscurely mediated, between the people and objects populating Basma al-Sharif’s Capital grow only more disorienting from here, as the film descends into a deranged whorl of new development: high rises, glimmering with the inhuman sheen of investment properties, seen from impossible angles; CGI visions of communities planned for perfect consumption; city and desert torqued into patterns of abstraction. Finally, all this collapses into a kind of music video, menacing and banal, for Nino Ferrer’s “Le Sud',' whose French lyrics are loosely and pointedly translated as karaoke-style subtitles. Unflinching in its pile-up of idiocies, al-Sharif’s film, a grim and exuberant satire, sketches the terms of a new anticapitalist realism. —Phil Coldiron https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774033116347-1WX872UKNL3REQ8QP1X7/AStonesThrow_TheIsland.jpg Archive - Archive: Year Four - A Stone's Throw على مرمى حجر Razan AlSalah (40 min) Amine, a Palestinian elder, is exiled twice from land and labour. He is displaced from his birthplace Haifa seeking refuge in Beirut, and again to Zirku Island, for work on an offshore oil platform and work camp in the Arab Gulf. "A Stone’s Throw" trespasses borders to reveal an emotional and material proximity between the extraction of oil and labour in the region and the Zionist colonization of Palestine. The film rehearses a history of the Palestinian resistance when, in 1936, the oil labourers of Haifa blow up a BP pipeline. —Razan AlSalah https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774033311742-YPEOK7WMSG87I69T6F6V/Screenshot+2024-04-22+at+3.06.58%E2%80%AFPM.png Archive - Archive: Year Four - COP26FILM Luke Fowler (7 min) COP26FILM was shot in Fowler’s home city of Glasgow during the period that the 26th UN Climate Change Conference (COP26) took place there in from October 31 – November 12, 2021. Denied entry to the main “blue zone“ the artist instead made daily walks around the periphery of the site recording the temporary infrastructure of the conference, security systems, police cordons and the omnipresence of Police helicopters. These combine to form a subjective image of state-power at a highly monitored and politically expedient event. Fowler offsets these displays of power with a "patchwork" of alternative interventions that took place; mass protests, temporary squats, and the significance the Minga Indígena, a collective of over 100 indigenous leaders who travelled to Glasgow to claim representation and space in the decision making process around issues of the climate crisis and potential solutions. COP26FILM features a soundtrack composed from recordings made on location and also synthesized sound by Richard McMaster and Luke Fowler. —Luke Fowler Fowler’s supple lyricism braids together a wide array of activity around the conference—protestors from across Africa, Europe, and the Americas; a woman advancing an anarchist line on housing these far-flung individuals; various men and women in suits and lanyards, local professionals and career politicians equal in aloofness—to create a collective portrait, a history film, of the current state of climate justice. As one activist speaks about the interconnectedness of the world, what sound like gunshots appear on the soundtrack. Art, here, is not allowed to stray from life. —Phil Coldiron https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774033358402-5TZBV8EOSQR3B0BLKXGI/hewhodances.jpeg Archive - Archive: Year Four - He Who Dances Passes Carlos Araya Diaz (70 min) A being from the beyond returns to Chile in 2019, embodied in a worker who dreams of social upheaval. Viral videos intertwine with fiction to narrate the experiences of a polarized country that wanders between drama and absurdity, illusion and failure. —Carlos Araya Diaz https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774034372171-LRK3U5FHMDXUC2EXPQYV/Six+Seventy-Two+Variations.png Archive - Archive: Year Four - Six Seventy-Two Variations, Variation 3 (For Charles) (PERFORMANCE) Tomonari Nishikawa (23 min) This is the third variation of the on-going 16mm film projector performance piece, "Six Seventy-Two Variations," for which I produce images and sound as a live performance. I use a wood carving knife to scratch off the photographic emulsion of the looped film as a live performance. Scratched patterns, which would be mostly horizontal lines, will appear as an abstract animation on the screen and produce noises, as the area of the filmstrip reserved for the optical soundtrack will be also scratched. Due to the distance between the gate of the projector and the position of the photocell to read the visual information for sound, the noise from a scratched pattern will be produced about a second later after it appears on the screen. —Tomonari Nishikawa https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774034378469-Q4IANZVTLN0ZJKZJ1P2E/bolero+study.png Archive - Archive: Year Four - Bolero Study Cherrie Yu (3 min) Bolero Study is a reprise of Torvill and Dean's ice dancing routine from the 1984 Olympic Sarajevo Olympics. Artist Cherrie Yu and collaborator Jade Manns rechoreographed the duet on their hands. —Cherrie Yu https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774033492572-ZQQ856HQU15ILF66TCTY/Us+and+the+Night+still+1.jpg Archive - Archive: Year Four - Us and the Night Audrey Lam (67 min) Night after night, two travellers cross paths at a university library. The library's symmetry, rhythms and recurrences form a fantastic geography for their stories and adventures. —Audrey Lam "As a love story between bashful student workers at a university library, Lam’s virtuosic script creates levity where unwieldy notions of the sublime have long burdened academic language. In moments as quick as the soft lilt in the narrator’s voice when she puns on the school as a “universe-city,” or a captivating sequence where the spritely protagonist, Umi, climbs through part of a shelf that happens to have empty space between books, the two students are shown moving across the dusty, carpeted library as if it were a thrilling metropolis or a bewildering planet. Risk in reaching toward another person amongst heaps of books and words joins an excitement for the unknowns of a relationship." —Lauren Lee https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774034556239-NJUMC0SNVJ46FTEG90W5/Socialist+Realism+Still+2.jpg Archive - Archive: Year Four - El Realismo Socialista (restoration) Raúl Ruiz, Valeria Sarmiento (78 min) In September 1973, Raúl Ruiz had completed the filming of 'El Realismo Socialista, when the civilian-military coup occurred in Chile. In 2019, footage from the film was found at Duke University and at the Royal Film Archives of Belgium (CINEMATEK). With the help of these two institutions, under the direction of Valeria Sarmiento and the crew of the film production company POETASTROS, it was possible to rescue, repatriate, reconstruct, restore and finish this piece of filmic heritage. —El Realismo Socialista https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774208314114-1KGUI7PKNEOFX2QUU6JD/Deep1.jpeg Archive - Archive: Year Four - Deep 1 Philip Hoffman (15 min) Filmed over 2 years (2020-2022), at home and away, Deep 1 is a diaristic meditation, flower/plant processed and decayed with hyacinth and lichen extract. Winged and four legged animals, both wild and domestic, traverse the frame marked by a hand-made practice. Filmed in Mount Forest, Ontario and Dawson City, Yukon. —Philip Hoffman https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774208327328-6JVJDMET2IRHT97AN3EU/Screenshot+2024-04-22+at+3.21.24%E2%80%AFPM.png Archive - Archive: Year Four - Black Rectangle (16mm) Rhayne Vermette (2 min) “Time has not been kind to Kasimir Malevich’s painting, Black Square. In 1915 when the work was first displayed the surface of the square was pristine and pure; now the black paint has cracked revealing the white ground like mortar in crazy paving.” This film documents a tedious process of dismantling and reassembling 16 mm found footage. The film collage imitates functions of a curtain, while the recorded optical track describes the flm’s subsequent destruction during its first projection. —Rhayne Vermette *Print courtesy of the Ruben/Bentson Moving Image Collection at the Walker Art Center w/ special thanks to Patricia Ledesma Villon. https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774208915139-KLMB4TSUESZO7V81BPFI/domus.png Archive - Archive: Year Four - Domus (16mm) Rhayne Vermette (16 min) "The block of marble is the most beautiful of all statues" - Carlo Mollino This is the story of the godlike architect, Carlo Mollino, animated within the desk space of failed architect, Rhayne Vermette. Made, with love on 16mm, 35 and Super 8, this classic tale of Pygmalion investigates intersections between cinema and architecture. For E. Ackerman, A. Jarnow, and T. Ito. —Rhayne Vermette *Print courtesy of the Ruben/Bentson Moving Image Collection at the Walker Art Center w/ special thanks to Patricia Ledesma Villon. https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774208361745-UOJ0ZHEX34YV9XD7FWWE/Photo+4+Screenshot_2023-10-30_at_6.21.14_PM.jpg Archive - Archive: Year Four - A Shifting Pattern (16mm) Isaac Sherman (6 min) Across the first minute of Isaac Sherman’s A Shifting Pattern, brief filmic phrases—close views of flowers and buds, each between 1 and 5 frames—appear at irregular intervals, generally in the range of every two seconds, as the soundtrack hums with outdoor ambience. A single, quick synth tone signals a turn: the montage accelerates, drawing the Markopoulos-style opening into outright flicker (Sherman continues to make precise use of black frames, creating a dense composition of afterimages, layered and fugal), as saxophone and flute join the synthesizer and field recordings in a similarly accumulative arc that moves from sparse 3-note phrases into a full arrangement which sounds like the record Laurie Spiegel never released on Mego. The botanical world is among the more common subjects for the flicker film, but when matched with the witty sense of fleeting pleasure imbued by the soundtrack, Sherman’s sumptuous and extravagant floral still lives—with their deft handling of light and shadow, of contrasts in color and scale—feel appropriately fresh. —Phil Coldiron Please note - This film contains some strobing images. https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774208914986-MNGXIK8P9EA4TZCRNR80/measuring500feet.png Archive - Archive: Year Four - Measuring 500 Feet (16mm) Abigail He (14 min) Dimensions: 500 ft. x 5/8 in. x 1/128 in. (15240 x 1.6 x .02 cm) overall: 547 ft. x 5/8 in. x 1/128 in. (16672.6 x 1.6 x .02 cm) —Abigail He https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774208917528-DYOE6E6NEDPMDE8SZ6UM/lightsmoke.png Archive - Archive: Year Four - Light, Noise, Smoke, and Light, Noise, Smoke (16mm) Tomonari Nishikawa (6 min) Fireworks were shot at a summer festival in Japan with a Super 16 format camera in order to obtain images on the optical soundtrack area on the filmstrip. The position of the photocell to read the visual information on the optical soundtrack area in a 16mm film projector is 26 frames in advance of the position of the gate to project the image. Each footage from 2 rolls of 16mm film were cut into shots of 26 frames each, and the shots were alternated from one roll to another, which would further separate the sound and visual, while producing a distinct rhythm throughout the film. —Tomonari Nishikawa After moving away, with 2019’s 'Amusement Ride', from the processed and layered frames that marked the first decade and a half of his career, Tomonari Nishikawa continues his elaboration of a new cinema of attractions in 'Light, Noise, Smoke, and Light, Noise, Smoke.' In typically reflexive fashion, he adapts the editing of A and B rolls into a sort of two-chord jam, alternating between a pair of fireworks displays, allowing images of embers and aftermath to spill onto the optical soundtrack, which becomes an out-of-sync field of pops and crackles. The title, it turns out, is quite literal: the search for a novel way to document a familiar experience modulates into a subtle essay on repetition and recognition. —Phil Coldiron https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774208402080-PJKSDARIVNXMCOHJ26SP/Screenshot+2024-04-22+at+3.22.52%E2%80%AFPM.png Archive - Archive: Year Four - Tricks Are For Kiddo (16mm) Rhayne Vermette (3 min) In 2010, Winnipeg director, Guy Maddin exclaims “it’s impossible to collage a film!” —Rhayne Vermette *Print courtesy of the Ruben/Bentson Moving Image Collection at the Walker Art Center w/ special thanks to Patricia Ledesma Villon. https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774208424386-E4QX1X71XFSHP5J8DVQ4/Photo+3+img_2_1697134576145.jpg Archive - Archive: Year Four - Glitter for Girls Federica Foglia (4 min) Glitter for Girls is a handmade tattoo film that utilizes a camera-less direct-on-film animation approach to collage multiple layers of water tattoos (commonly used by children.) —Federica Foglia https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774209234814-NV7PXKCE9HFQWJ4YI1AK/entrance+wounds.png Archive - Archive: Year Four - Entrance Wounds Calum Walter (18 min) A meditation on the image and the bullet. Entrance Wounds considers the modern challenge of trying to unsee an image. The film sifts through moments of the everyday, imagining a world where afterimages of disaster drift in near-transparency over the present. —Calum Walter "Entrance Wounds conveys a global freeze, a narrative trapped in ice, as we waver between horror and numbness. It generates a feeling of logic suspended, as tragedy ceases to register as an event. Grief is amoebic. It fills the space around us like a deadly gas." —Michael Sicinski https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774209247142-F5MXBHN8IEUYQIBPRDUK/hethoughthedied.jpeg Archive - Archive: Year Four - He Thought He Died Isiah Medina (70 min) A painter stages a heist to steal his paintings back from the vault of a museum. A filmmaker happens to be at the museum on the same day. —Isiah Medina Having been invited by Ontario’s Agnes Etherington Arts Centre to produce a film in their archives while the museum was closed for renovations, Isiah Medina emerged from the vaults with 'He Thought He Died'. As with 'Inventing the Future' (sci-fi) and 'Night is Limpid' (the comedy of manners), a loose generic structure (the heist film) supports an intricate intellectual composition, as a painter (Medina) steals back his work from the museum’s collection. The anti-drama of this scenario—it largely provides an opportunity for extended visual exploration of the multifaceted idea of the frame—runs in parallel to a talkier strand involving a filmmaker (Kelley Dong) visiting the archives to conduct their own research. These conversational passages play out in fast and dense language and montage, each line delivered with a precision that might be confused for blankness, each cut opening new angles both within and beyond a given scene. It’s not quite a spoiler to say that artist and filmmaker do finally converge on a counterpoint of value-forms. —Phil Coldiron https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774209375607-OTAIAKFFCDAB94068MI5/midwoodmovie.jpeg Archive - Archive: Year Four - Midwood Movie Melissa Friedling (70 min) “Midwood Movie,” is a is an exploration of the site of the first purpose-built modern film studio in the US (American Vitagraph Company) which operated from 1907 through the silent era, was repurposed into a yeshiva school for girls in the early 1980s, and rebuilt in 2000s for residential use with the original 70-foot smokestack still intact. The film includes interviews with film historians and descendants of the studio founders; re-photographed nitrate fragments of films that were produced at the Brooklyn studios over 100 years ago; and original footage shot inside the yeshiva school and of the building during and after demolition. The film explores both profound resistances and persistent echoes of national and local cultural histories, the archeology of the American film industry, local neighborhood demographics, gentrification, and politics. —Melissa Friedling https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774209403261-LON1VH7XT02HY0U3ORXJ/download.png Archive - Archive: Year Four - Camera Test (King Cadbury) Charlie Shackleton (7 min) A documentary readymade about family lore and chocolate biscuits. —Charlie Shackleton https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774209530676-Y2KGJCDMNJQICOKYNNVQ/download+%281%29.png Archive - Archive: Year Four - Social Circles Eri Saito (16 min) This piece explores the unique dynamics and communication that arise from the inability to fully connect and understand each other. In our daily lives, we form various social circles through interactions with friends, acquaintances, colleagues, and family. With the prevalence of social media and online platforms, people can create even more diverse social circles and connect with individuals from all over the world. Through this artwork, the faint boundaries that emerge from individual communications and relationships are contemplated, with the hope of sparking thoughts about our future existence and how we interact with others. —Eri Saito https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774209509233-8IYBDSCOC2IN126N4FU7/abidingnowhere.jpeg Archive - Archive: Year Four - Abiding Nowhere Tsai Ming-Liang (79 min) Commissioned by the National Museum of Asian Art in honor of its centennial, 'Abiding Nowhere' was filmed in the museum and at other locations in the DMV. Inspired by the Tang-dynasty Buddhist monk Xuanzang, who famously walked from China to India in search of scriptures, the Walker series stars Lee Kang-sheng, who very slowly traverses landscapes and cities around the world. The first Walker video to be filmed in the United States, Abiding Nowhere also stars Anong Houngheuangsy in a film that Tsai describes as “two lonely souls on separate journeys, sometimes crossing paths but never once meeting.” —National Museum of Asian Art https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774209751376-2P4TQ9TB76LA1EXA47WG/download+%282%29.png Archive - Archive: Year Four - As close as your voice can call (16mm) Derek B. Jenkins (14 min) A film about language, about the way trauma inflects grief, and about learning to speak with the dead. —Derek B. Jenkins https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774209736300-94QX4T6WP2J7O4WYUIOY/Treasury.jpeg Archive - Archive: Year Four - The Treasury of Human Inheritance Alexis Kyle Mitchell (59 min) 'The Treasury of Human Inheritance' is a film about the experience of living with and alongside disease and disability. Tracing loops, echoes and repetitions across the physical and spiritual realms, ‘The Treasury’ combines documentation of family home movie footage; somatic and religious rituals for death and life after death; abandoned urban architectures teeming with natural growth; celluloid film hand-processed in genetic material; and an analogue synthesizer soundtrack that mimics inheritance patterns of genetic disease. In essence, this is a film about a family – but, more than that, it is a film made from the everyday patterns we embody in order to live through and with one another. —Alexis Kyle Mitchell https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774209894897-BMOA18TZ0224SKZPD4GO/RevolutionUntilVictory.jpg Archive - Archive: Year Four - Revolution Until Victory a.k.a. We Are the Palestinian People (Newrseel #65) San Francisco Newsreel (45 min) “Made by a breakaway faction of the U.S. Newsreel collective Pacific Newsreel, 'Revolution Until Victory' edits exclusively archival footage into a detailed, historical reconstruction of the conflict. Great attention is paid to the political genesis of Zionism, the role of colonial Britain in assigning [sic] Palestine to zionists and the strategic role Israel has played ever since in the control and monopoly of the world’s most sought-after commodity, oil.” –Celluloid Liberation Front, SIGHT & SOUND *Program guest curated and introduced by Nadine Fattaleh and Kaleem Hawa https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774209938726-1C5JAZ0QE2NCT4I458ZN/introductiontotheend.png Archive - Archive: Year Four - Introduction to the End of an Argument Jayce Salloum, Elia Suleiman (41 min) "With a combination of Hollywood, European, and Israeli film; documentary; news coverage; and excerpts of ‘live’ footage shot in the West Bank and Gaza strip, 'Introduction to the End of an Argument' critiques representations of the Middle East, Arab culture, and the Palestinian people produced by the West. The video mimics the dominant media’s forms of representation, subverting its methodology and construction. A process of displacement and deconstruction is enacted attempting to arrest the imagery and ideology, decolonizing and recontextualizing it to provide a space for a marginalized voice consistently denied expression in the media.” –Video Data Bank https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774238042116-PAK5RTZ412LTCEV18QO3/let+the+red+moon+burn.png Archive - Archive: Year Four - Let the Red Moon Burn Ralitsa Doncheva (7 min) Let The Red Moon Burn is an impressionistic portrait of the ancient ritual of fire dancing in Bulgaria. Weaving 16mm hand-processed images, the film blurs past and present to evoke ghosts in the landscape, the spirits of ancestors unearthed by the throbbing pulsations of live music. All images and sounds are recorded during Zheravna Festival of Costume in Bulgaria, where thousands of people gather each summer to perform traditional dances under a full moon. —Ralitsa Doncheva https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774238050238-DKOCB9KXZ67DLLNLOX9W/at+the+bamboo+green.png Archive - Archive: Year Four - at the bamboo green Xiaolu Wang (11 min) A one take recording of a family's visit to the bamboo green at the foot of the Helan Mountains. —Xiaolu Wang The site is pretty easy to find. So says the young woman who has been filming an outing to her grandmother’s grave. Along the way, she and her extended family happen upon an imam on the road. Smiling, he offers them his services, and in a long, unbroken shot, they drive him to the gravesite to chant. The route is orderly, the car new and softly beeping, the family plot well-tended, if a little dusty. But the journey is twistier than it first seems. The woman, the filmmaker, explains to the imam that she is from the United States. Later, she reveals that her grandmother once appeared to her in a dream. Each turn is another opportunity to lose one’s bearings, for time to slip past, for languages and customs to become strange. What might seem mundane becomes remarkable in its unlikeliness: a distant family reuniting at a leaf-strewn grave. —Genevieve Yue https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774238054563-KZXWN4XXJYG6D0RYEERF/download+%283%29.png Archive - Archive: Year Four - In the Wake of Loss Aminata Ndow (22 min) A documentary portrait of twenty-year-old Amie Lowe, whose father disappeared during Yahya Jammeh’s violent dictatorship in The Gambia when she was only 3 years old. The personal portrait that emerged illuminates the intimate and small in the interminable wake of unresolved loss. —Aminata Ndow https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774238049362-BJZH978I8Z7IOQBJ9L9F/seriana.png Archive - Archive: Year Four - Avant Seriana (Before Seriana) Samy Benammar (19 min) Mom, you brought me back to our homeland. All I know about these harsh landscapes I learned from books written by the hand that burned these mountains. I try to undo the colonial myths engraved into my memory, but the hills escape my gaze. Do you think I, too, have become the white djinn spoken of by the legends surrounding our martyrs?'Avant Seriana' is an essay film shot in Super 8 in the Aurès region of Algeria. Observing the landscapes of my native land, I realize that they are divided into several images and times. Two different countries are formed : the Algeria of the mountains and an imaginary one born of the tales I've read in colonial archives. My gaze no longer belongs to the places where I was hoping to return to my roots. —Samy Benammar https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774210123235-DYXNWAAPKNPS8MMVLNVC/Ritual_Still_3.jpg Archive - Archive: Year Four - 121280 Ritual Antoinetta Angelidi, Rea Walldén (16 min) The naked body of the pregnant mother. The voice of the daughter. Inside-outside. A song to life. THE MOTHER (fragment of a text by Angelidi, which accompanied the film at its first screenings): The twelfth day of the twelfth month of the year nineteen-eighty was the day before I gave birth to my second child, my son. I. Naked. To come to terms with my fear, I felt the desire to immerse myself into black water, to re-emerge and cuddle my belly. A remembering forgetfulness that to die giving birth is like being born dying. THE DAUGHTER (fragment from the text by Walldén, which is spoken in the film): I return to my second self. Her smell. Mine. The centre I immerse in. Safety is a smell. And I rest. Calmness. The touch. In my head the buzz stops. In her smell, I rest. —Antoinetta Angelidi, Rea Walldén https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774210134499-VLUWPG7TM41GRIQLI0LL/Idees_Still_3.jpg Archive - Archive: Year Four - Idees Fixes / Dies Irae Antoinetta Angelidi (60 min) I have been interested in three questions since the beginning: the importance of cinematic writing as juxtaposing dialogue of the elements of heterogeneity, the research of borderlines of cinematic representation, and the incorporation of the creator’s subjectivity in the film. This film addresses the issue of representation of women’s bodies in modern and contemporary art history: gender as construction and not as destiny. It is structured on two axes: on the one hand, the body representations and the body of representation; on the other, writing in situation and not on situations. It is composed as a synchronic and diachronic synthesis and subversion of images and sounds. The inversion of codes, as well as their juxtaposition, constitute the film’s central creative strategies and, therefore, the key for its interpretation. A succession of indirect references and games, subversively comment on aesthetic theories and specific artworks. Music is produced by the repetitive transformations of the sound of speech. The inversions of image and sound function narratively, reinscribing women’s bodies. —Antoinetta Angelidi https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774238314358-J6ILOJGL16CE3S1WIG3A/download+%284%29.png Archive - Archive: Year Four - In the Fishtank Linnea Nugent (3 min) A triptych contemplation of nature's mystery through earthly scenes. —Linnea Nugent https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774238311099-WHP3DHH1NI3DM1BSEVBR/download+%285%29.png Archive - Archive: Year Four - Extinction Story Origin Story Terrie Samundra (18 min) On their way home from school one day, two young girls find themselves in a haunted desert. —Terrie Samundra https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774238233504-2ILYWA6OXTHYNMTA09Y8/Photo+3+Screenshot_2023-08-23_at_10.48.39_PM.jpg Archive - Archive: Year Four - Hinkelten Svetlana Romanova (18 min) Constructed out of personal poems and notes, xиӈкэлтэн poses questions about image production's intersection with creation of narratives, that are embedded now in our perception of contemporaneity and manifest themselves in our performances of ideas and feelings like love. Positioned in the Yakutian Arctic, this visual essay invites the viewer to ask vital questions in relation to peripheral discourse that seems to be inseparable in relation to the etymology of the word itself - Arctic, and how does the western ontologies in relation to intimacy are fitting in immediate Yakutian realities. —Svetlana Romanova https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774238306863-V2LUK9XUHUZXR50E01EP/heap.png Archive - Archive: Year Four - Unspeakable Heap Kara Ditte Hansen (14 min) A short-film about my uncle, a retired greco-roman wrestling olympian living atop a decommissioned landfill. In “The World Of Wrestling” Roland Barthes uses the phrase "unspeakable heap" to describe the wrestler's flesh at the moment of defeat spread out on the floor. A heap also recalls the shape of waste and a structure that rises to a climax only to slope down again towards the ground. For the ground is the surface that marks the difference between victory and defeat, the living and the dead, and the present and the past. —Kara Ditte Hansen https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774238313641-AKSV5WS4LMXR6ID83IEW/landscape.png Archive - Archive: Year Four - Landscape Suspended Naghmeh Abbasi (26 min) 'Landscape Suspended' tracks the story of an “interrogation” through the footages from Shahoo mountain, a mountain in Kurdistan of Iran which hosts nomadic Kurdish tribe called Havar Neshins and Kurdish guerrillas. This film’s images are a kind of revelation through visual interrogation, revealing the perception of the socio-political history and violence that surround the people in the mountainous area.Through landscape as its approach, this film tries to uncover spatial justice by observing the living space of the Havar Neshins, identified based on the complexity of the landscape in which they reside. —Naghmeh Abbasi https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774238538133-I3P182ALDSBGJ1DS78HD/Thief_Still_4a.jpeg Archive - Archive: Year Four - Thief Or Reality (35mm) Antoinetta Angelidi (80 min) Reality robs you of your dreams and you have to rob it in order to dream. A darkly optimistic film. Three versions of just one day. Three characters trapped in parallel universes. The invasion of the Thief will unite them. Each point of view produces a different story: fate-randomness-free will. What do they have in common? Mortality. "What I spent, I had. What I saved, I lost. What I gave, I have." —Rea Walldén/Antoinetta Angelidi https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774238932457-J0IQMM1G1LJFFBRA4RHA/undr.png Archive - Archive: Year Four - UNDR Kamal AlJafari (15 min) The camera’s eye returns obsessively to the same places, a vertical perspective that imposes control, the possession of archaeological sites, stones lying for thousands years in the desert. The places it observes, however, are not deserted: we see, as if glimpsed from afar, the peasants working the land, themselves transformed into landscape. Something disturbs the stillness of the place: explosions on land and in the sea prepare the ground for new cities with new names, new forests. This landscape is transformed into a scenography of appropriation. —Kamal AlJafari https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774238938424-XSDR6PUXTPXPCMPLDK1N/phantoms.png Archive - Archive: Year Four - Familiar Phantoms Larissa Sansour, Søren Lind (42 min) Blending live action, special effects, private family photos and archival footage, the 'Familiar Phantom' explores the impact on fiction on the creation and reinterpretation of memory. The film is inspired by anecdotes from my family history and my old childhood in Bethlehem, making it my most personal film to date. Shot in a derelict mansion and a black studio, the film oscillates between slow, fluid exploratory sequences and fast-paced collages of objects, mementos, family photos and Super 8 footage, its visuals and editing mimicking the actual workings of memory, constantly revisiting the same imagery alongside new fragments in search of meaning – while alternating between storytelling and ruminations on memory. —Larissa Sansour https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774239196742-LYVXUVN35BRAHE45IIFK/robert.png Archive - Archive: Year Four - A Visit With Robert (16mm) Luke Fowler (3 min) In Spring 2013 I was artist in residence at Dartmouth College in New England. This was a vital time for me developing films and projects with artists Toshiya Tsunoda, Christian Wolff and Larry Polanski. I recently discovered a roll I shot during this time - whilst on a visit to the Cape with Robert. The occasion stuck in my memory because of a particularly infection I had caught which made me reticent to travel or do anything. I recall Robert encouraging me to come anyway and to use my Bolex as a way of counter-acting the virus and my general state of malaise. —Luke Fowler https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774239196355-7G1MGSX3ZCOHV8FM5M9J/eros.png Archive - Archive: Year Four - Eros Rachel Daisy Ellis 'Eros' explores the architectures of sex, love and intimacy through one of Brazil’s most adored and infamous institutions: The Motel. Regular motel guests are invited to share stories whist filming themselves during a night at their favorite motel, providing a unique insight into the sexual and emotional psyche of a nation. —Rachel Daisy Ellis https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774239329736-3DD2JJR7Y0QEHLAPA2OE/Hours_Still_2.jpg Archive - Archive: Year Four - The Hours — A Square Film Antoinetta Angelidi (80 min) Memory as construction and as internal pulse. Spendo, on the edge of suicide, re-lives her life, re-constructs it and, finally, liberates herself. Sadness flows and fills the space. The hours co-exist and intertwine. The world: a flesh-eating mechanism. A descend begins, a rhythmic immersion into the depths of memory, where the evil appears in the form of good. Until memory no longer repeats itself. The hours are noiselessly formed anew. —Antoinetta Angelidi https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774239666611-B0DVIEC9XSS3E4MYOXOZ/Trolley+Times+04.webp Archive - Archive: Year Four - Trolley Times Gurvinder Singh (143 min) "The sword of revolution is sharpened on the whetstone of ideas" —Bhagat Singh https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774240268407-MABDMHFF3EQE9YERZJSX/download+%286%29.png Archive - Archive: Year Four - Abefele Amir George (6 min) Abefele is a meditation on artistic and spiritual duality interpreted through the sport of fencing. —Amir George https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774240207877-CCNZH44R0XUZBOW5X2JY/battlefield.png Archive - Archive: Year Four - On the Battlefield Little Egypt Collective (16 min) The first release by Little Egypt Collective stages a sound recordist reconnecting with the flat fields where once stood Pyramid Courts – the housing projects that formed the heart of the Black community of the Little Egypt region of southern Illinois. —Little Egypt Collective The Little Egypt Collective is Theresa Delsoin, Lisa Marie Malloy, J.P. Sniadecki, Ray Whitaker. https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774240181708-IZVAKBIIK3GREAHPVTL8/download+%287%29.png Archive - Archive: Year Four - Map to the Sirens Demetrius Antonio Lewis (14 min) By way of Atlanta, Georgia’s railway, oral histories from local rideshare drivers with urban landscapes uncover the post-industrial American South and its fraught history with labor and space. —Demetrius Antonio Lewis https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774240033768-4BYR03UELFCEY1ME2G8Q/Photo+2+vlcsnap-2024-03-08-04h02m43s170.jpg Archive - Archive: Year Four - ping pong ping pong ping pong ping pong ping pong Daphne Xu (9 min) The ping pong table at Seward Park in New York City and the in-between space of a Cold War. An immigration lawyer advises on how to tell the truth. —Daphne Xu https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774240200877-9ZT18O61590DCJIMHLQL/khabur.png Archive - Archive: Year Four - Khabur Nafis Fathollahzadeh (30 min) Khabur, the longest tributary of the Euphrates in Northeastern Syria, has gone through drastic changes in the last decades resulting in its dry-out since 2019. 'Khabur' departs from Tell Halaf (an archaeological site in the valley of the Khabur River) and follows the journey of the archeological collection towards Berlin where it has resided since 1930. It traces the circulation of violence in different times and contexts along the Khabur River and engages with the economic and political power relations that have been transforming the landscape of the region, displacing beings, their belongings, and herstories. The film addresses photography and archeology as two disciplines emerging from the colonial-imperial enterprise, critically engaging with the imperial grammar of photographic archives, and examining the ways it could be recycled, reimagined, and rehearsed. —Nafis Fathollahzadeh https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774240546570-AU2WJQSAFQCCHHQY5Q59/download+%288%29.png Archive - Archive: Year Four - BLACK INFINITUDE (Aldo Tambellini tribute) In November 2020, we lost one of the most influential multi-disciplinary artists of the last century - Aldo Tambellini. Tambellini’s avant-garde work and insistence on new medias led him to be considered a pioneer in the field of experimental film and video. The retrospective screening, BLACK INFINITUDE, and the accompanying installation offers a compendium of some of Tambellini’s most important works while orienting his practice around the poetry, sculpture, performance, and multidisciplinary, time-based experiences he proposed as means for discovering both the universal and sociopolitical contexts of Blackness in his work. Tambellini did not enter filmmaking through the camera. He approached the medium as a sculptural object and an extension of the poetic with which he could experiment in time. One cannot remove Tambellini from the context of his war-torn childhood in Italy or the radical political activities in which he was involved through his work at the Gate Theater, with the Umbra Collective, Ben Morea, and others. His sculptural work is like the negative cast of a cratered world - often concaved half-spheres of brutal remnants. While the sculptural works hold a sort of psychogeography transferred by Tambellini through his experiences of WWII, his cinematic works simulate the “hot”, hyper-speed of chaotic time-space. These works belong in relation to Tambellini’s concept of “The Centrifuge”, an art experience in which all various elements act as subatomic particles. This exploration of negative and positive cosmic space must be seen as a response to the hyper stimulation brought about by witnessing and experiencing incendiary, bombastic, and violently abject sociopolitical traumas. Tambellini’s first explorations in cinematic space involved the slide film as a canvas, and through performative interventions, he began altering the speed of the slide projector, eventually using analog motion picture and projectors. Tambellini, through film and video, quickly began creating “expanded cinema" before it was ever named. Through this screening, we will present Tambellini’s body of essential cinematic work within the context of his multidisciplinary approach and the persistent search for new medias. Program curated/text by M. Woods. https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774276409110-KGZXMKQLZLHCA25RQIQH/Aida.png Archive - Archive: Year Four - Aida Returns Carol Mansour (77 min) 'Aida Returns' is a poignant, sometimes sad, sometimes painful, sometimes humorous, often absurd story of a multiple journey: the journey of loss as the director’s mother Aida struggled with losing herself to Alzheimer’s disease, but finding solace in her repeated “returning” to the Yafa and Palestine of her youth; the journey of the loss of a parent; and the ultimate return journey back to Yafa where Aida would finally find rest and be herself once more. Close to four years after Aida’s passing away, the director’s friend and colleague Tanya who lives in Ramallah came to visit Beirut. When she heard about Aida’s wishes and yearning for Yafa, Tanya suggested that she herself carries the ashes back. The film accompanies director Carol Mansour as she engineers a way to return her mother to Yafa in search of eternal rest and peace for her. A return that is aided by an unlikely set of friends and strangers all coming together to facilitate what should have been a simple journey. This journey is at the same time very private and personal, while resonating with hundreds of thousands of Alzheimer’s sufferers and their families as well as hundreds of thousands of Palestinian refugees awaiting their return home. 'Aida Returns' is a tribute to the lost past of the director’s family, an attempt to restore part of both an individual and a collective memory, and a poetic nod and affirmation to all those exiled Palestinians forbidden from returning to their hometowns, even after death. —Film Forward Production https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774276523399-U9DYFEJOFKZNOS1HIUVX/Photo+8+Main_Still.jpg Archive - Archive: Year Four - Few Can See Frank Sweeney (42 min) "In the late 1980s, as violence continues in the north of Ireland, censorship is increasingly being enforced on British and Irish television. In response, broadcasters have entered into a blackout strike. The workers have occupied several stations and are transmitting a programme bringing censored voices back onto the airwaves." 'Few Can See' examines the legacy of broadcast censorship of the conflict in the north of Ireland and political movements during this era. The project attempts to recreate material absent from state archives due to censorship, based on contemporary oral history interviews with people censored during this time period. Within a late 80s current affairs television format, actors verbatim re-enact edited transcripts from 18 oral history interviews, later dubbing their own performances. This technique is inspired by the use of actors to dub the voices of censored people during the conflict. The story is inspired by several blackout strikes which took place at broadcasters across Ireland and Britain in response to censorship. Most of the film is shot on old live broadcast tube cameras, resurrected for the production. https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774276576282-PQXB1B6M0R6H9PNNZ47X/radival.png Archive - Archive: Year Four - A Radical Duet Onyeka Igwe (28 min) What happened in 1940s London when two women of different generations, but both fighting against colonialism, came together to put their fervour and imagination into writing a revolutionary play? —Onyeka Igwe https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774276658144-98F0P3WTFECFO1CK4UFT/ObsessiveHours_Still_1.jpg Archive - Archive: Year Four - Obsessive Hours at the Topos of Reality Rea Walldén (88 min) A filmed confession of Antoinetta Angelidi, who has been a pioneer of feminist avant-garde cinema in Greece since the 1970s; who is also my life-long creative collaborator, and my mother. This film is for her a self-revelation, but also performance and direction of the self, as confessions always are. A dialogue with the camera, with me holding the camera, but also with herself and the world. Her testament. An intimate speech about art and life, rape and blindness, but also about human solidarity and the liberating experience of seeing the world anew. It is also a film essay on her gaze. It nodes to her filmmaking techniques. It uses variations and uncanny connections, long shots and jump-cuts, revealing its construction and discreetly incorporating its own metalanguage. For much of the film, Angelidi’s body is immersed in darkness, her face and hands coming out of it as if entering unmediated inside our unconscious and dreams. The film was shot without a crew in the confinement of our flat in Athens, in a single room, during the lock-down. It is about our inner space, at the most secret place of which one finds the Other. —Rea Walldén https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774276720642-DDOL3YR7IWPCYTCY4PLS/Photo+1+Workspace_40_FINAL.00_31_42_16.Still070.jpg Archive - Archive: Year Four - La Laguna del Soldado (The Soldier's Lagoon) Pablo Alvarez Mesa (75 min) 'La Laguna del Soldado' delves deep into the misty Páramo region, into an ecosystem rich in water, but also saturated with oral narratives that populate the territory like foggy patches. Reflecting on the construction of oral history and its relation to the land, the film traverses the Páramo; a living and elusive archive, navigating through the dense fog suspended between Simon Bolivar’s past and Colombia’s present. —Pablo Alvarez Mesa Co-presented by Union Docs. https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774276854766-LGLL3T3J1T8RJ4TDZM3O/download+%2810%29.png Archive - Archive: Year Four - SYZYGY (35mm) Akbar Padamsee (12 min) 'SYZYGY', a rare experimental film by the eminent Indian painter Akbar Padamsee, was created in 1969 through algorithmic processes. Funded by a government grant and produced under the auspices of Padamsee's Vision Exchange Workshop, this generative work features a visual motif of unwavering straight lines that autonomously generate abstract patterns, evocative of celestial configurations. Drawing inspiration from the astronomical term for the alignment of celestial bodies, Syzygy manifests constellation-like patterns derived from over a thousand drawings of abstract lines and forms. Conceived as a "theory towards programming forms," the film presents a matrix of horizontal and vertical lines that merge into abstract combinations via a self-generating process. Although the original negative was lost, Syzygy has been meticulously restored from the last surviving, heavily damaged 35mm positive print by filmmaker Ashim Ahluwalia, in collaboration with Future East Film (Mumbai) and Moderna Museet, Stockholm. This revival not only breathes new life into Padamsee's vision but also resurrects what may be the only trace of an Indian experimental film movement that was prematurely extinguished with the disappearance of this film. —Vanij Choksi https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774276903972-B1ILCT79FEU7LAHHWV09/download+%2811%29.png Archive - Archive: Year Four - Mechanisms Common to Disparate Phenomenon #59 Joost Rekveld (79 min) Joost Rekveld’s Mechanisms Common to Disparate Phenomena; #59 departs from a key moment in the history of feedback—the more or less concurrent discovery of deterministic chaos by men on opposite sides of the globe—and moves obliquely toward another decisive step in our understanding of the interconnected systems of our planet: human space travel. The film begins with a long prologue comprising a series of tight close-ups on a mechanical plotter whose seemingly arbitrary movements eventually produce graceful, coherent forms, soundtracked by one of those men, the Japanese engineer Yoshisuke Ueda, reflecting on his discovery. Having set his conceptual terms, Rekveld moves into an hour-long passage of analog synthesis set to the sounds of classic sci-fi, as the relatively simple lines of the plotter explode into outrageous complication, seductive graphic tangles that float in and out of sync with shifting fields of color. Figure and ground constantly feed back into another within the frame, while the whole of the film induces its viewer into their own mental feedback, torquing our sense of time and scale at once toward the massive and the minimal. —Phil Coldiron An abstract animated science-fiction film that takes the experiences shared by humans and electronic circuits as its starting point. Our computing technology emerged during the Cold War as a byproduct of the development of atomic weapons and their associated planetary surveillance systems. In 1961, at what was perhaps the coldest point of this period, Edward Lorenz and Yoshisuke Ueda independently discovered deterministic chaos in their computers. In film #59, humans, aliens and electronic devices vacillate between these poles of a human fever dream of planetary control on the one hand, and lively machinic chaos on the other. All images in the film were produced as analog electronic signals, in a re-enactment of antiquated ways of computing. These signals were generated using period equipment, including an analog computer from 1963, early sonar and radar oscillators, and bits from military flight simulators. This film is an attempt to liberate these technologies from their problematic origins. Narrative elements derived from Cold War era science fiction films set the tone, while references to radar and television scanning result in images that evoke very early computer graphics. These progressively unfold into organic calligraphies, in which the negative space between the patterns becomes one of the protagonists. Resemblances with manmade phenomena are gradually left behind, and the film evolves into a nonverbal meditation on material processes, human perception and the arrow of time.” —Joost Rekveld https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774277015111-LKTHNB4Y2OCREJ1LMAWS/contractions.png Archive - Archive: Year Four - Contractions Lynne Sachs (12 mins) In 2022, the Supreme Court of the United States ended a woman’s right to a safe and legal abortion. 'Contractions' takes us to Memphis, Tennessee where we contemplate the discontinuation of abortion services at a women’s health clinic. We listen to an obstetrician-gynecologist and a reproductive justice activist. We watch 14 women who witness and perform with their backs to the camera. In a place where a woman can no longer make decisions about her own body, they speak with the full force of their collective presence. —Kino Rebelde/Lynne Sachs https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774277019937-R9M4UWRGQ8OFNP9YFKOD/mother.png Archive - Archive: Year Four - Malqueridas Tana Gilbert (75 min) They are women. They are mothers. They are prisoners serving long sentences in a correctional facility in Chile. Their children grow up far from them, but remain in their hearts. In prison, they find affection in other partners who share their situation. Mutual support among these women becomes a form of resistance and empowerment. 'Malqueridas' builds their stories through images captured by them with cell phones inside the prison, recovering the collective memory of a forgotten community. —Square Eyes/Tana Gilbert https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774277133483-QNW1M456ASMLODXMWER7/Topos+Still+2.jpg Archive - Archive: Year Four - Topos (35mm) Antoinetta Angelidi (80 min) A parable on place and time. A game of metamorphoses. A passage after death, a second death. A woman gives birth and dies. At the moment of death, her face disintegrates and assumes the aspects of those who stand by her bed. Her body is torn by the conflicts of those who inhabit it and her voice dissolves into many voices and many roles. —Antoinetta Angelidi The film presents an expanded, in-between moment, where memories flow simultaneously, and their consistency has the arbitrariness and exactness of the sequence of a dream. The entire film is a filmed dream. Bodies drift in different rhythms, each has its own individual temporality, while the film records two 24-hour cycles, presenting successively events that may be 20 years or 40 days apart from each other. —Antoinetta Angelidi, August 1984 In unknown places one finds recognizable elements… Some paintings become references. Recognition of a world or its scattered elements that one already carries inside oneself but had not identified till then. So, one starts constructing a world in one’s image. Fragments or layers of the past – light, colours, placements, faces’ movements, stories – reassembled. Time negates itself and yet the film provides many elements of temporality. Many layers of past, many layers of civilisation. The past is there in many ways and yet it doesn’t exist. Space is naked, alive, creating sensations. The perspective of the film is not a person’s viewpoint; it is the space itself who sees. The film’s space is the body, it breathes, sees, listens, grieves, responds. A series of parallel narrations by different elements of image and sound are weaved and conversing with each other. Associations are induced. The film writes itself, it changes, advancing its own writing. The film is the transparency of a journey, both as the narration of an experience and as the narration of its own construction. Around the moment of the difficult passage, are gathered the desires of the people who constitute the different faces of the woman in trial. One is obliged to create the world anew / one tries repeatedly to enter the paintings, entire pieces come out of them / faces are devoured following the geometry of sensations. One becomes a turbulent field. The voice dissolves into many voices and roles. From the fragments, from the image pieces, a new universe is formed. When the mechanism of memory is amended, the universe remains empty. —Antoinetta Angelidi, September 1985 https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774277331201-F1H0SQMZ2SIP2NAGR3RQ/maloul.png Archive - Archive: Year Four - Ma’loul Celebrates Its Destruction Michel Khleifi (30 min) **Prismatic Ground 2024 virtual exclusive** CINEMATEK restoration co-presented by Bidoun Ma'loul is a Palestinian village in Galilee which was destroyed by the Israeli armed forces in 1948. Its inhabitants were driven out and expropriated. All that remains of the village are two churches and a mosque, the last visible traces for travellers between Haifa and Nazareth. Over the years, they too disappeared, under a forest planted in memory of the victims of Nazism. The Israeli authorities thus wiped off the map hundreds of Arab villages. But the former inhabitants of Ma'loul have created a new tradition: that of going for a picnic one day a year on the site of their destroyed village, paradoxically on the day of the independence of the State of Israel. It is the day of the picnic that we filmed; the encounter with a stone, a window, a wall, an olive or a pomegranate tree... hidden under the woods. A peasant notes among the young pines certain uncertain landmarks of his lost universe. A family comments with a naive purity on the mural fresco of their village, painted according to traces from their memory. As required by the official Israeli curriculum, a teacher explains to his Arab students the history of the creation of the State of Israel… These are elements of reality that confront each other and make up the film; they allow us to pose a new dimension to the Israeli-Palestinian conflict: that of time. —Michel Khleifi https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774277328252-L8LIZ0TXBUPAFXBE2JYA/download+%2812%29.png Archive - Archive: Year Four - Dau:añcut (Moving Along Image) Adam Piron (15 min) **Prismatic Ground 2024 virtual exclusive** In 2014, an unknown man in Ukraine tattooed a portrait of a relative of a filmmaker in his traditional Native American regalia. Stitched together from footage of the search for this man, the film interrogates what happens when the control of an image is lost and the time’s circular ironies. —Adam Piron https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774277329533-9J83JLR21C459QW7OPBD/even+god.png Archive - Archive: Year Four - Even God Liz Roberts (12 min) **Prismatic Ground 2024 virtual exclusive** All personal archival VHS engaging with a core question of artists in times of chaos: who owns a memory and what is its value? A record of the queer Midwest. Drugs, sex, love, friendship, and a failed Los Angeles movie deal. —Liz Roberts https://www.prismaticground.com/archive/year-three monthly 0.5 2026-03-31 https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774278951265-66QPHYKCW51NFWOVD3PN/ramos.png Archive - Archive: Year Three https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774279066706-UXOIAE7INCG5XIN6J3RS/Hello+Dankness.jpg Archive - Archive: Year Three - Hello Dankness Soda Jerk (70 min) Comprised entirely of hundreds of film samples, Hello Dankness is a political fable that bears witness to the psychotropic spectacle of American politics from 2016 to 2021, and the mythologies and lore that took root around it. Taking form as a suburban stoner musical, the film follows a neighborhood through these years as consensus reality disintegrates into conspiracies and other contagions. Part political satire, zombie apocalypse, and Greek tragedy, the work is also informed by the encrypted memetics of contemporary internet culture. Begun in 2019 and labored on throughout the Covid-19 pandemic, Hello Dankness is a record of the time, written from the time. https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774279154114-UBNWBI9MHHN6L8OJ1DSC/A-to-Z-1956-Still.webp Archive - Archive: Year Three - A to Z (16mm) Michael Snow (5 min) It makes an odd sort of sense that Michael Snow’s career would begin with a pornographic animation about the romance of domestic objects. Done in charcoal on paper, its table, chairs, and ceramics exist as mostly negative space, shaped patches of white against hatched messes of gray. Taking on a life of their own, they move jauntily within their flat realm, coming together as couples and groups in search of not so obscure pleasures. The fetish of commodities has rarely been handled with such a light touch. - Phil Coldiron https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774279193347-YNK2SQU4JVOSUGNAITVU/A+Chair.jpg Archive - Archive: Year Three - A Chair Takahiko Iimura (8 min) In Memoriam, Takahiko Iimura (1937-2022). Offering no less than its title suggests, this forerunner of conceptual video art filters the object of its attention through wavy black and white signals accompanied by sounds of drumline static. Its original installation format at the inaugural Forum Expanded program in Berlin, which was re-staged in 2023, allowed visitors to view together and share the moment on multiple synced TVs brought in by Arsenal staff. —Inney Prakash https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774280537481-YC6BUHSSYPYI41A88HLF/Where+do+you+stand%2C+Tsai+Ming-Liang.jpg Archive - Archive: Year Three - Where do you stand, Tsai Ming-Liang?  Tsai Ming-Liang (23 min) “I am fond of chairs,” Tsai Ming-Liang announces via title card. Joining the pantheon of auteur quarantine missives alongside Jafar Panahi’s Life, Apichatpong Weerasethakul’s Night Colonies, Mati Diop’s In My Room, and Alice Rohrwacher’s Four Roads, Where do you stand reveals a peculiar obsession with playful ease, showcasing the director’s favorite places to sit (not stand, presumably, as the official translation suggests), in addition to a few of his recent paintings and a bright orange tabby cat— satisfying any desire for the mundane details of our artistic heroes’ lives. - Inney Prakash https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774280647531-A27G9881P85KZZD2J659/HennyPenny.png Archive - Archive: Year Three - Henny Penny the Sky is Falling Raphael Montañez Ortiz (10 min) Ortiz destroyed pianos throughout the 1960s (he flayed, stabbed, smashed and otherwise deconstructed many other household objects, too, but he seems most remembered for those pianos). Henny Penny is scored by Ortiz’s most famous concert, at the Destruction in Art Symposium in London in 1966. The piano’s death rattle is synced to grainy, black and white footage shot in a Coney Island chicken slaughterhouse in 1958. Married to a cacophonous symphony of death, suddenly the loss of the piano doesn’t seem all that bad. Henny Penny mirrors shots from The Texas Chain Saw Massacre—a hellish flurry of feathers in front of a vertiginous camera— but it’s the nightmare-Deleuzian final freeze-frame that will make you want to puke. —Mackenzie Lukenbill https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774280655952-YTKRYL2BEUXA1M2CNOXP/TIERRADELECHE1.jpg Archive - Archive: Year Three - Tierra de Leche Milton Guillen, Fiona Hall (12 min) A group of Central American diary workers in the Northeast of the United States reminisce about their relationship to the land, labor practices, and their home countries. Hours, days, weeks, and years pass by and the repetitiveness of the labor makes way to new families in a non-place. These workers, despite their initial dreams, never come back home, where many of their families forget about them, or are lost to time. The film is an exploration of multispecies exploited by capitalistic forces, humans and cows, and questions the technologies we have created to maximize efficiency over liberation. It is not all lost, however. They have left the farms. —Milton Guillen and Fiona Hall https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774280701548-EXWO2CHLKVAXIEHC9Y70/The+Raw+%26+the+Cooked.jpg Archive - Archive: Year Three - The Raw & The Cooked Lisa Marie Malloy, Dennis Zhou (26 min) The Chens are an Amis family living on Taiwan’s eastern coast. As some family members venture into the brush after a midnight rain, others harvest rice amid the whir of machinery. Blending work and play, food becomes a site for the Chens to pass down their endangered language to a younger generation, trade ghost stories, and express the vibrant hybridity of contemporary indigenous identity. —Lisa Marie Malloy and Dennis Zhou https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774280668504-3SHDZ89IZKCJUF90XV4G/Next+Her+Heart.jpg Archive - Archive: Year Three - Next Her Heart (16mm) Anna Kipervaser (12 min) Eternal recurrence and wisdom undone. The end or the beginning. Who are we that we. One and the same are the shadow cast and its cause. A hypnotic meditation through the seven valleys on the way to reach the abode of the Simurgh. —Anna Kipervaser https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774280816327-8M18F9QOGL7RR8KT37P1/Currency.png Archive - Archive: Year Three - Currency Crystal Z Campbell (3 min) An obsolete global currency central to the slave trade, cowrie shells have become an emblem of Black self-fashioning embedded in hair, garments or jewelry. Currency is a striking synaesthetic gesture whose soundtrack emerges from the collisions of the cowry shells and beads woven in performer Angela Davis Johnson’s hair as she moves and rolls her head, hands pressed firmly against an abstract lightboard wall. The pace is erratic, unpredictable, but the pattern a familiar sideways motion of refusal. - Chrystel Oloukoi https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774280870250-TJSN05ZU9YRFA4ME3UPI/To+Write+From+Memory.jpg Archive - Archive: Year Three - 默 / To Write From Memory? Emory Chao Johnson (18 min) Queer time moves differently. Selves are multiplied and then hidden away, secret objects are infused with mimesis, desires are internalized. Vials of synthetic testosterone provide most of the narration in Emory Chao Johnson’s collage. The filmmaker withholds the audience’s view from domestic drama and traumatic squabbles that invade the soundtrack, keeping at bay what Moyra Davey once referred to as “the wet.” Instead, Chao Johnson focuses on methodical practices—injections, cooking, commuting, inspecting one’s own body—collapsing those fraught, wet questions of identity until they undergird their quotidien present. —Mackenzie Lukenbill https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774280836172-P7A831WHRKWAABE09E5N/Remembering+Wei+Yi-Fang%2C+Remembering+Myself.png Archive - Archive: Year Three - Remembering Wei Yi-fang, Remembering Myself Yvonne Welbon (30 min) Sovereignty is inextricably linked to questions of both belonging and ownership. During her six-year stay in Taiwan, filmmaker Yvonne Welbon “learned the importance of choosing to name one’s self, the importance of knowing one’s self,” the ability to declare your own sovereignty. Welbon briefly took the name Wei-yi Fang. She interrogates her Black past in fluent Chinese; she was born in the United States to Honduran parents. This building of a multiplicity of selves forms a prism, through which Weibon is able to sharply comment on the differing racisms that her multiple selves have encountered. A cohesive personal history is fittingly assembled from many sources—interviews, recreations, documentary and archive—until a sovereign self comes into focus. —Mackenzie Lukenbill https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774281137207-P9NE4MHSMXBABU732YN2/Where+is+this+street.jpg Archive - Archive: Year Three - Where is this street? or With No Before and After  João Pedro Rodrigues, João Rui Guerra da Mata (88 min) Departing from Paulo Rocha’s The Green Years, the inaugural moment of the Portuguese Cinema Novo, João Pedro Rodrigues and João Rui Guerra da Mata drift through a locked-down Lisbon in search of subtle signs of life. Along the way, bitterly comic examples of the class character of pandemic responses butt up against strange moments of serenity. Their camera moves with a disoriented attention, equally curious and apprehensive of what it might find in this new world. As in life, history returns in strange and unexpected ways, though here that return occurs in mercifully gentle register. - Phil Coldiron https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774281192189-FNZJ0GZSIZSHHCN9YO86/Onlookers_1_MAINSTILL_%40Photo%2Bby%2BKimi%2BTakesue.jpeg Archive - Archive: Year Three - Onlookers Kimi Takesue (72 min) In the introduction to his famous dialogues with Hitchcock, Francois Truffaut attempts to describe the essence of tension in a cinematic scene through an example of a dinner party’s cross-directional dance of gazes— a matter of who’s looking at whom, and with what hidden motivations. Kimi Takesue’s Onlookers then, despite its placid veneer and languid pace amid the sightseeing landmarks of Laos, is loaded with the tension borne of ocular entanglement between subjects in their daily environments, ogling tourists, Takesue’s own camera and subject position as traveler, and our apparently fixed positionality as witnesses to the scenes she captures. The result is as complex and open-ended as the social co-existence it reveals. Through a series of expertly framed static takes (with meticulous sound design), we’re free to let our senses wander between the sometimes humorous, sometimes off-putting, and always porous borders between seen and seer—and might just take pause to consider who could be observing us as we do. - Inney Prakash https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774281266159-VPESU1L4TRVEA67U7OGV/Keeping+Time.jpg Archive - Archive: Year Three - Keeping Time Darol Olu Kae (32 min) Darol Olu Kae’s homage to the Pan Afrikan Peoples Arkestra (Ark), an LA-based avant-garde jazz ensemble, moves the spotlight from the stage to the labor which makes a gig happen. With polyphonic structure, Keeping Time mirrors the fluid and multigenerational composition of the band, as members leave, pass through or die, and follows new bandleader Mekala Session’s earnest attempts to honor past legacies while forging anew. In a skillful kaleidoscopic assemblage, the film weaves together archival footage and audio with the present, restless energy that seeps from every corner of Session’s house. - Chrystel Oloukoi https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774281297638-7YF6643EVGHAE5HH0P10/SolintheDark.jpeg Archive - Archive: Year Three - Sol in the Dark Mawena Yehouessi (51 min) Sol sees Afrofuturism as a link between past and present, and as a rebuttal to a world in which “we are all commodities within a same architecture of violence”. Diffracting their observations, dreams, beliefs, and poetry through an ambiguous, collectively imagined figure named “Lascar” — an antiquated term referring to Southeast Asian sailors on European ships, a present pejorative for diasporic, suburban French teens, and any other number of definitions depending— Yehouessi assembles a team of incisive young collaborators whose multiplicitous views yield a fluid and aesthetically bombastic imagining of Blackness along the space-time continuum. These ideas, sounds and images may be individually familiar, but as the film obliquely states, “The difference? Is (precisely) in the plural.” —Inney Prakash https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774281453437-2WDVQDINXXMV50ZYJMLP/Anti-Cosmos.png Archive - Archive: Year Three - Anti-Cosmos Takashi Makino (16 min) One of the few artists still earnestly committed to an ideal of grand spectacle, Takashi Makino crafts all-over abstractions that are uniquely overwhelming. Here, color provides the shape, tracing an arc through oscillating fields of mottled not-objective imagery as they modulate steadily from cool blues, purples, and greens into hotter and drier reds, pinks, oranges, and browns, and then back to the initial shades. The score, a deep and unnerving arrangement of processed field recordings by Lasse Marhaug and the great Lawrence English, seems to confirm that the sense of climate catastrophe which emerges isn’t incidental. - Phil Coldiron https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774281472124-9GHMU8S01425UNMUF1VZ/Night+Walk.png Archive - Archive: Year Three - Night Walk Sogn Koo-yong (65 min) There is an incredible depth to Sohn Koo-young’s images—levels of both contrast and detail that would seem antithetical. They are so close to stills, if it weren’t for the movement. Night Walk’s compositions evoke a point-and-click PC game; the shots are locked off precisely and the details beckon to you. The fragments of text and poetry that provide narration, similarly, feel like an interactive text game—the tender grass aids my (your?) footsteps, the firefly lights my (your?) path. The night is dyed in a shade of indigo that I want to discover for myself, like Rohmer’s Green Ray. A bottling of a simple, yet perhaps impossible, experience. - Mackenzie Lukenbill https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774281557212-O6CWWI8KFKKDWOOGYT2W/SPEECH+FOR+A+DISAPPEARING+STATUE_still_1+%281%29.jpg Archive - Archive: Year Three - Speech for a Melting Statue Collectif Faire-part (10 min) In June 2020, thousands of people took to the streets in Brussels to make a fist against police brutality and institutional racism in solidarity with Black Lives Matter. For a moment, it seemed that some demonstrators would take down the statue of colonial king Leopold II in a nearby square. For now the sculpture is still standing, but an optimistic poet already prepares her speech for the day it will be removed. —Collectif Faire-part https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774281571420-NUMGOO22377H5F4W6LIR/Private+Footage.jpg Archive - Archive: Year Three - Private Footage Janaína Nagata (91 min) After purchasing a seemingly innocuous home movie from South Africa online, the filmmaker begins peeling back its layers to uncover a strange and violent history of Apartheid in this riveting desktop thriller. Seeing Nagata’s mind at work as she isolates and expands details frame-by-frame is a masterclass in active viewing. —Inney Prakash https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774284816838-0SBZ5H8QYK9L4GX9B4Q2/lotuseyedgirl.jpeg Archive - Archive: Year Three - Lotus-Eyed Girl Rajee Samarasinghe (6 min) Loosely based on the erotic poem “Caurapañcasika” by Bilhana, which was written in prison upon discovery of the poet’s clandestine affair with Princess Yaminipurnatilaka. The verses were written while awaiting judgment, not knowing if he was to be executed or exiled—his fate is unknown. “Lotus-Eyed Girl” ruminates on the curious and fractured intersections of death, desire, and class. Fading family photographs (from an uncle’s funeral to my mother on her wedding day), pomegranate arils, pulsating floral mandalas, and horror atmospherics culminate into an ecstatic collision of death and longing—echoing devastations of the past. Through principles of psychogeography, the systems of power that shape identity and desire, in the way that colonialism has altered human perception, are examined in an undulating and capricious form. –Rajee Samarasinghe https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774284846830-WFH7D227FENH0G565C2B/FUGUE++still.jpeg Archive - Archive: Year Three - Fugue John Gianvito (15 min) A man hikes through late-winter woods. Russia invades Ukraine. It’s difficult to reconcile the scales of action described by those sentences, but this difficulty is what John Gianvito dwells on in his new video. It may simply be that this is a diary, movingly plain and provisional in construction, which recounts what its author did for a few months last year: he watched a war on the internet and went outside. Even if that’s true, such a description makes Gianvito’s images seem less strange than they are. - Phil Coldiron https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774284859957-K72JU68L3ONELYW8KXZL/L_escale+still+1+%281%29.jpg Archive - Archive: Year Three - L’escale Collectif Faire-part (14 min) Filmmakers Paul Shemisi and Nizar Saleh travel from the Democratic Republic of Congo to Germany for the screening of their new film. During a layover in Angola, they're stopped at the airport because the airline doesn't trust their documents to be real. While Paul and Nizar think they are being led to a hotel, where they would stay until their flight back home , they are actually being taken to an illegal detention center. —Collectif Faire-part https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774284889016-EG4LKQPH2O8TM3ZC79AM/A+Movement+Against+the+Stars+of+the+Seas.jpg Archive - Archive: Year Three - A Movement Against the Transparency of the Stars of the Seas Esy Casey (30 min) “I split in two,” the narrator of Esy Casey’s two-channel film says, as she crosses the Pacific, “one of flesh, one made of pixels.” The pixels, via texts and video messages, travel back home to the Philippines while the flesh remains confined to a house in California where she works as a cleaner, “erasing traces” of existence rather than being allowed to embody it. Casey frames this portrait of migration with dual histories of imports and exports, the value of silver and a statue of Christ brought by Magellan measured against the present-day lives of women who leave en masse to work as domestic laborers around the globe. Dance, free movement, is put in dialogue with the practiced work happening in the American household’s ascetic interior. - Mackenzie Lukenbill https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774284913218-LHENM0ICP1FF57N70P59/Promised+Lands.jpeg Archive - Archive: Year Three - Promised Lands Emma Wolukau-Wanambwa (20 min) In Memoriam Emma Wolukau-Wanambwa (1976-2023) Promised Lands centers a landscape descending into sunset as its main protagonist, accompanied by the often dissenting voices of narrator and subtitles. These voices struggle over possible meanings and derivative stories that stream out like estuaries from the obstinate trees and mountains. Their struggle to 'tell the story' echoes the struggles borne from the ghosts of colonialism, or the project to gain narrative power over a land and its peoples. Amongst swirls of Western art historical references, political polemics, and neo-romanticism, Wolukau-Wanambwa inserts tender moments of resolve that nestle in the sounds of nature, or in a nearly inaudible conversation recorded between Emma and an Elder; what speaks truest is most silent. As Wolukau-Wanambwa suggests towards the end of the film, to be promised is not so much a blessing, but rather the condition of being spoken for. —Andros Zins-Browne https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774285016441-TXNUSJ263CE1HN968R4Q/three+sparks.jpg Archive - Archive: Year Three - three sparks Naomi Uman (95 min) Esteemed avant-garde filmmaker Naomi Uman takes a residency in rural Albania as the starting point for this poignant, profoundly personal first-person feminist documentary on village life, gender roles, solidarity and creativity. Split into three parts, the film begins by establishing the filmmaker’s place in the community and builds to a collaborative video project that playfully unpacks the acts of seeing and being seen, bridging the experiences of Uman and the women and girls of the village. Each image delights in splendid detail; the whole is a stirring symphony of perception. —Inney Prakash https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774285067192-519YJRW41U8DKD9NFDM9/Life+on+the+CAPS.jpeg Archive - Archive: Year Three - Life on the CAPS Meriem Bennani (75 min) Welcome to the CAPS, a fictional island in the mid-Atlantic created as a result of teleportation gone awry. Our guide to this low-fi, sci-fi world built on Moroccan YouTube and amateur hip hop is a neon green CG crocodile with an implacable accent (she is voiced by Crotchet Fiona, a Spanish rapper originally from Equatorial Guinea) who cheerfully assures us that “CAPS” stands for “capsule,” not “capital.” The latter, however, undoubtedly applies. The CAPS series was shot in Morocco, and it makes no attempt to conceal this setting beyond digital effects that depict teleportation-related side effects like “mega ear” and “plastic face syndrome.” The colonial presence, meanwhile, is everywhere: in ads for a used car company called Atlantic Cars and the mostly offscreen menace of American troopers. Some CAPS residents collaborate with these occupiers, while others plot insurrection with tactics like cutting the fiber optic cables laid deep in the ocean. At one point it’s suggested that this gives rise to CAPS literature — hacked lines of code. The result is a delirious, frayed, and endlessly energetic scramble of digital signals. - Genevieve Yue https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774285130316-YKXYZTKTXNWF9ZC2AXP3/black+strangers.jpg Archive - Archive: Year Three - black strangers Dan Guthrie (8 min) In staging an impossible dialogue in the British countryside between present-day Dan, and his purported 18th century namesake in the Gloucester Archives, artist Dan Guthrie stretches the contours of what can be done with archival traces. The cinematography of black strangers revels in close visual framings — a hand in the archives, a back in the woods, or a wallpaper — thus gesturing at the trappings and dissimulations embedded in proximity. Dan’s wanderings in the woods offer a rumination on the incommensurability between the speculative, whimsical, feverish weight of his questions, and the silence of the person reduced to the label “black stranger” in the archives. - Chrystel Oloukoi https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774285143828-OYU9VQRZAJ67N5I72HD5/rupture.jpg Archive - Archive: Year Three - rupture Zkonqu (18 min) Many of the musings that appear in rupture are about the disconnection that occurs in socially mediated life. Yet the film’s emphasis is ultimately inward, and closer to the texture of thought itself. Typewritten notes appear over a slowly rotating and abstracted image of tree leaves in shadow. These express ideas that sometimes repeat, contradict each other, or trail off. Others mingle with the words of major Black thinkers, expressed in audio and video clips: bell hooks, Audre Lorde, and Prince. Aside from these archival sources, the image is almost entirely abstract, though it quivers with an intensity suggestive of an active and questioning mind: a prism of introspection. - Genevieve Yue https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774285151795-FKO1JG5CO8MRFKHU64DV/melodie+de+brumes+a+paris.jpeg Archive - Archive: Year Three - Mélodie de brumes a Pàris Julius-Amédée Laou (23 min) In Mélodie de brumes à Paris, a West Indian man named Richard (Greg Germain) struggles to repress traumatic memories from his time fighting on behalf of France in Algeria. A run-in encounter with his father turns the film into a mournful lament on life under colonialism, before a cameo by the filmmaker (playwright Julius Amédée Laou) spins it in an entirely different direction. This is the North American premiere of a new restoration made from the original 35mm negative at LTC Patrimoine (Paris) under close supervision from Laou, in partnership with Jesse Pires (Lightbox, Philadelphia) and film programmer Steve Macfarlane. https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774285176623-CGJVRCEVLC2ILMTYA9I2/Coaley+Peak+%28A+Fragment%29.jpg Archive - Archive: Year Three - Coaley Peak (A Fragment) Dan Guthrie (6 min) Selected by Exeter Phoenix for their 2021 Artists’ Moving Image commission, Dan’s idea was to make a film about Blackness and belonging in the English countryside, taking a family photo of some of his relatives at the Gloucestershire viewpoint Coaley Peak as a starting point. Whilst making the film, something happened. —Dan Guthrie https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774285261625-K5LAK8ZL8WCVUFZXA6E1/Exterior+Turbulence.jpeg Archive - Archive: Year Three - Exterior Turbulence Sofia Theodore-Pierce (11 min) Prismatic Ground alumnus Sofia Theodore-Pierce reliably constellates disparate styles of image-making into rich emotional atmospheres, perched just on the far side of legible narrative. Here, the stars are signifiers of last century’s bohemia: reclining nudes, languid novels, overfull apartments, cigarettes. As the camera tilts and pans, surveying them with a loose rhythmic formalism, intertitles inject snatches of daily experience, erotic encounters, standard anxieties. All together, the mood lands near one of the foundational lines of American poetics: “While I was writing it I was realizing that if I wanted to I could use the telephone instead of writing the poem.” - Phil Coldiron https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774285278081-LK922WIBZ2AIHDVDW551/No+Tomorrow.jpg Archive - Archive: Year Three - No Tomorow Ryan Clancy (12 min) A sober sexual reawakening gives rise to a speculative communion with neanderthals. —Ryan Clancy https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774285293124-GQ8LKI7B5T5VIVIMF5XS/Fin+de+Siglo.jpg Archive - Archive: Year Three - Fin de siglo Maike Höhne (15 min) A young Argentine woman comes to Cuba to make a documentary about prostitution. But instead she gets herself a black Cuban lover and the boundaries of prostitution start to fade. A taxi- driver also gives his opinion on the subject of prostitution. —Maike Höhne https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774285326037-1OAT3BJ3KG5DKGGN2XBI/I+Cannot+Now+Recall.png Archive - Archive: Year Three - I Cannot Now Recall Kersti Jan Werdal (15 min) In I Cannot Now Recall, Kersti Jan Werdal guides the viewer through a selection of Yvonne Rainer’s dreams, chosen by the filmmaker from a collection of Rainer’s journals archived at The Getty Museum. Constellated first through Werdal’s selections, and then refracted through the readings of a street-cast filmed in LA High Memorial Park, Rainer’s dreams appear as nodes on an anxious psychic ecosystem. As the material distills from private reflection into script into performance, what emerges is a vital interchange between desire and disquiet. References to the medium of film seem to further entangle the relationship between filmmaker and subject, as well as the relationship between film and viewer. Joined by doubles and guides, in unfinished buildings and the depths of outer space, the dreamer explores her subconscious with a probing appetite for expansion and wholeness – but who the dreamer is exactly remains an open question. —LD Deutsch https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774285411614-C2G3DIEAMXC0Z25DE7X5/Close%2C+but+no+cigar+%28Parco%29.jpg Archive - Archive: Year Three - Close, but no Cigar (16mm trilogy) lovertits (Ayanna Dozier, 4 min) A Picture for Parco (Ayanna Dozier, 3 min) an exercise in parting (Ayanna Dozier, 3 min) Dozier uses her own image across three films to playfully but incisively unpeel the layers beneath performed sexuality and love’s gaudy desperation. Referencing commercialism and excess— with nods to a Japanese ad featuring Faye Dunaway & Charles Matton’s ‘Spermula’, respectively— and satirizing the darkness of innocence lost, the trilogy enlists the artist’s body as an empowered guide to its own complex history amid a sea of cultural signifiers. - Inney Prakash https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774285471779-M6M6APV1CB6U1HDVN9LU/Aidol2.jpg Archive - Archive: Year Three - Aidol Lawrence Lek (83 min) Building on his Sinofuturist project, which contemplates an Earth society dominated by the ubiquity of AI, Lek guides us through a dense apocalyptic environment with a series of chapter-oriented Socratic dialogues that contemplate the relationship between humans and artificial intelligence. In the lead up to the corporate-sponsored 2065 eSports Olympics, in which humans and handicapped “Synths” face off on computers, a pop star named Diva poses profound questions about the nature of originality, ultimately enlisting our AI philosopher-guide Geo’s assistance in staging her comeback. In a world where the algorithm dictates power, violating its dictums can entail serious consequences— while machines must face their own qualms about appeasing human nature. Lek’s lushly orchestrated score creates a dreamy, liquid atmosphere in which to consider the film’s many provocations. —Inney Prakash https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774285675313-YGXWMMWMBRAHEUUBYIZ4/bibi.png Archive - Archive: Year Three - Bibi Seshanbe Saodat Ismailova (50 min) Bibi Seshanbe is a film that occurs at the intersection of dream, folklore, and ethnography. In frequent closeups of women’s hands at work, it weaves between the life of Bibi Seshanbe Ona, Central Asia’s version of Cinderella, and the women who, in hushed tones, appeal to her protection in ritual practices. Against a flat and hazy city backdrop, there is a velvety richness to the spaces where women gather. Every texture, from the glowing orange of a plastic milk pail to a sheet of sesame-crusted bread, beckons. For the followers of Bibi Seshanbe, her story offers solace, and hope for sumptuous if fleeting joy. - Genevieve Yue https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774285530410-FM6U5C8KB751H29Y6PDH/Apocalyptic2.jpeg Archive - Archive: Year Three - The Apocalyptic is the Mother of All Christian Theology Jim Finn (64 min) The story of Paul the Apostle’s life, ideology and influence is told by piecing together 20th Century 16mm and cassette propaganda, board games, animation, reenactments, Roman Empire doom metal and covers of Catholic liturgical music. The gentle Paul themes with flute, acoustic guitar and mellotron contrasts with the Demonic Roman Empire themes of electric guitar, drums and synth. Performance artist Linda Montano and Usama Alshaibi portray Paul on his journey. The film tries to capture the disturbing reaction Paul and his letters had in the early days of Christianity. The use of live action, animation, found footage and original music was a way to recover his biography from the brains of 20th Century humans so that in some perhaps misguided Utopian impulse, we can build something new out of it for the future. - Jim Finn https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774285754238-2MMB43PS9UMNFSLE19NS/download.png Archive - Archive: Year Three - Darkness, Darkness Burning Bright Gaëlle Rouard, 16mm (70 min) Darkness, Darkness, Burning Bright is a stunning piece of pastoral surrealism in two parts, “Prelude” and “Oraison”, set to an electro-acoustic composition by analog filmmaker Gaëlle Rouard. Combining in-camera visual effects, such as split screens, exposure shifts and superimpositions with handmade photochemical processing, the film strip becomes a record of rigorous and intoxicating experimentation. Rouard performs as both alchemist and painter, investing objects with a sense of stubborn, almost pictorial opacity. - Chrystel Oloukoi https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774285793395-1MZURK1H0252532S3NVT/download+%281%29.png Archive - Archive: Year Three - Where Tsai Ming-Liang (90 min) The latest of Tsai Ming-Liang’s “Walker series” locates Lee Kang-Sheng, dressed in the red robes of a Buddhist monk, in Paris. As with the earlier films and installations, Lee’s pace is slow to the point of being nearly still. He moves out of time, out of step, with the commotion around him, but his walk aligns with the camera’s frame, passing from one side to the other. He always appears amid the ruckus — an unexpected reveal by a passing bus is a classic instance of Tsai’s deadpan humor. Throughout, Lee is presented as someone who is seen, by passersby who gawk, snap photos, and in one case, verbally harass him. One of his observers is a young man, possibly an artist, whose solitary wanderings are intercut with the monk’s slow trajectory across the city. The two converge at the Centre Georges Pompidou, where on a large canvas stretched over the floor, they literally cross tracks. - Genevieve Yue https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774285855672-QJIB42AI0T0TTQAFQK2I/LANA.jpeg Archive - Archive: Year Three - LANA Susan Youssef (4 min) Actress Maisa Abd Elhadi was shot while protesting in 2021. This short reimagines the moment the actress danced with the forces and through creativity removed all obstacles, for herself and those before and after her. —Video Data Bank https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774285870413-LDYW8PV4K3RNNOHRKKL8/nomisfortune.webp Archive - Archive: Year Three - As if No Misfortune Had Occurred in the Night Søren Lind & Larissa Sansour (21 min) Søren Lind and Larissa Sansour deliver a haunting opera lament which dovetails the personal grief of a Palestinian mother with that of a people. Performed by soprano Nour Darwish, the opera is constituted of a single aria which fuses together the Palestinian folk song Al Ouf Mash’al and Gustav Mahler’s Kindertotenlieder. Lind and Sansour’s post-apocalyptic landscapes of desolation take on a domestic bent in barren interiors which nonetheless honor the labors of grieving mothers— the living-room and bathhouse, with exquisite emphasis on garment, fabric and embroidery. Split across screens, Anna Valdez Hanks’ wrenching cinematography sculpts abstract, geometric blocks of light, resistant opacity and pure darkness, speaking to how ongoing histories of occupation distort foundational spatial and temporal coordinates. - Chrystel Oloukoi https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774285893389-W5N78BGEGFQB4SCSJKGJ/one+emerging+from+a+point+of+view.jpg Archive - Archive: Year Three - one emerging from a point of view Wu Tsang (43 min) In overlapping frames, one emerging from a point of view links two worlds, two views. On one side is portrait and myth: the fictionalized story of Yassmine Flowers, a transgender migrant from Morocco who, in Tsang and Flowers’s collaborative retelling, becomes a woman scorned by her family, poisoned by a king, revivified by a goat, then finally settling at the bottom of the sea. On the other is landscape and documentary: the farmers, fishermen, and the rugged coast of Lesbos where migrants have sought refuge, often tragically. In an early shot, goats hesitate before jumping over a shallow creek. Many don’t quite make it, and splash awkwardly before regaining their footing. One emerging from a point of view exists in the space of such leaps, both in the hope of crossing, and in the ethereal beauty that comes from these momentarily blended realms. - Genevieve Yue https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774285966501-ZLPYOYTFGQ73W3Z43VJV/tous+les+jours+de+mai.jpg Archive - Archive: Year Three - Tous les jours de mai Miryam Charles (7 min) Actress Maisa Abd Elhadi was shot while protesting in 2021. This short reimagines the moment the actress danced with the forces and through creativity removed all obstacles, for herself and those before and after her. —Video Data Bank https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774285990516-XFW54924QL80OL7OWXCO/A+Woman+Escapes+-+Still+1.jpeg Archive - Archive: Year Three - A Woman Escapes (Real3D) Sofia Bohdanowicz, Burak Çevik, Blake Williams (81min) In Real3D. Three filmmakers of wildly different sensibilities come together for this epistolary narrative of one woman’s attempt to shape her isolation into something from which she might make sense, or even meaning. The woman is Deragh Campbell, continuing the role of Audrey Benac that she’s played across four prior films with Sofia Bohdanowicz, whose soft 16mm interiors comprise the film’s ground note. Alone in a Parisian flat, Benac receives footage from Blake Williams (3D explorations of spaces IRL and online) and Burak Çevik (crisp HD master-shot compositions), and begins editing this material to her own ends. Intimations of romance creep into the edges, but what lingers is the joy and pain of seeing through absent eyes. - Phil Coldiron https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774286062872-R1HK2EQ16H6TSV6BVB8G/NYC+RGB.jpg Archive - Archive: Year Three - NYC RGB Viktoria Schmid (5 min) This gentle trip from Viktoria Schmid surveys the architecture of Manhattan in a series of fixed-frame compositions, each exposed three times, through red, green, and blue filters. The city’s range of beiges, browns, and grays remain steady, while highlights and shadows splinter into geometric arrays of color. This tension between consistency and change draws the mind toward one of the traits of modern New York which Schmid avoids: its glass-facade new construction. The matter of what goes into making a city durable as both idea and place is a heavy one, though the film’s opalescent skies do help to lighten it. - Phil Coldiron https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774286069120-GOYWU05AS39SS8K5ZHGQ/Only+If+You+Could+See+a+View+Above+the+Clouds.jpg Archive - Archive: Year Three - Only If You Could See a View Above the Clouds (16mm) Zhuoyun Chen (4 min) A ghost, a face, lucid minerals, vague landscapes... What do you see when my words fall? —Zhuoyun (Yun) Chen https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774286078766-7IECZKEOHOKCS6JAV9DN/MUSH2.jpg Archive - Archive: Year Three - M*U*S*H (16mm) Jodie Mack (8 min) In a dizzying swirl of stop-motion animation, the petals in M*U*S*H* are made to dance in a Dionysian frenzy. Half-shriveled, they are already on their way to becoming a potpourri mulch. Then new petals are thrown on top, a riot of red, yellow, and violet, the occasional fragment of a leaf. The earlier flowers might be buried, or they might have disappeared into the alternating black and white backgrounds that peek through this density of organic matter. The image moves too quickly to allow for careful study, but then, the progression slows and stills. The camera trembles slightly. Movement — life — is discernible from within this wilted flower offering. - Genevieve Yue https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774286083082-X6ILPJV9EOQXPT9IMVGV/Crashing+Waves.jpeg Archive - Archive: Year Three - Crashing Waves Lucy Kerr (19 min) Lucy Kerr uses former stuntperson Jess Harbeck’s account of on-set recklessness as the foundation for this essay on the ethics of certain attempts to capture reality. As Kerr reads Harbeck’s first-person narrative in measured deadpan, she tests it against a pair of images: a black screen and then, after several minutes, a long downward shot of dark waves on a rocky shore. The third and final passage resolves this lightly stated contrast between testimonial and symbolic impulses—between documentary and fiction, if you’d rather—into a grim found-footage horror of practical effects. - Phil Coldiron https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774286093407-JAOHKNO68JVW9GLM2DSU/Site+of+Passage.jpeg Archive - Archive: Year Three - Site of Passage Lucy Kerr (7 min) Sitting, with appropriately adolescent uncertainty, somewhere between the conventions of the dance film, the performance document, and the coming-of-age story, Kerr’s film is acutely tuned into the social choreography of its tween-girl subjects. In a slumber-party setting, the girls run through a trio of “pieces” with exuberance and commitment: the classic “light as a feather, stiff as a board”; a kind of fast-paced charades; a gymnastic exercise in stacked bodies. There are, notably, no phones in sight. Kerr is respectful of the emotional privacy this age demands, leaving the messiness of experience to hum at the edges of precisely acted rituals. - Phil Coldiron https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774286258846-KFBNOY7121CPI5EAGABV/Theta.jpeg Archive - Archive: Year Three - Theta Lawrence Lek (12 min) https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774286272093-W3ANYD0FCHND98RET5EJ/Glossary+of+Non+Human+Love.jpg Archive - Archive: Year Three - Glossary of Non-Human Love Ashish Avikunthak (96 min) https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774286311887-XDOIP4VS2JI98ACZ4XC4/Miracle+on+George+Green.png Archive - Archive: Year Three - The Miracle on George Green Onyeka Igwe (12 min) The Miracle on George Green centers around a public, natural space—specifically a single Chestnut tree within that space—and branches outward into a history of outdoor collectivity; its successes, its failures, its songs. Soft sunlight blurs the edges of Igwe’s frames. The organic pastels of the social and political movements that she documents are inviting. The fact that these documents are memories, imaginations and archival scraps points toward an uneasy sense of loss: in a world ever-teeming with privatized infrastructure, such harmony feels scarce. - Mackenzie Lukenbill https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774286312998-J2CDDWQ99V0FXFXBLKPH/No+Stranger+At+All.jpg Archive - Archive: Year Three - No Stranger At All Priya Sen (40 min) https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774286413737-XWUC05SJMDCX60OXUONJ/yaangna_1.png Archive - Archive: Year Three - Yaangna Plays Itself Adam Piron (8 min) https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774286415829-EUQPMGOTPKJEY3T6K2S8/Waterfall1.jpeg Archive - Archive: Year Three - Waterfall (16mm) Arthur & Corinne Cantrill (17 min) https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774286421782-ELSXF32HCNKZ4WZEOI6X/Dans+les+cieux+et+sur+la+terre.jpg Archive - Archive: Year Three - Dans les cieux et sur la terre (35mm) Erin Weisgerber (12 min) Imprinting successive layers of time in a ritual of repeated gestures, active attention, walked paths, shifting seasons, and cycling years, Dans les cieux et sur la terre combines the alchemical potential of photochemical film with the ritual of the filmmaker's performance. Filmed over 7 years in the neighbourhood around the filmmaker's Montreal home, a foundational local monument meets fleeting traces of urban flora. Bipacked with travelling mattes, the vibrant reversal filmstrips pass many times through the camera's gate, sedimenting layers of time. —Erin Weisgerber https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774286427828-H6N0TZ6WXUQXONQQTXNH/DARON._DARON_COLBERT.jpg Archive - Archive: Year Three - Daron, Daron Colbert (35mm) Kevin Steen (14 min) https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774286471783-79G1Z0FCGYJFAV4J3WVS/coalfields.png Archive - Archive: Year Three - Coalfields (16mm) Bill Brand (38 min) 16mm restoration by BB Optics. Bill Brand’s 1984 document of unionized struggle in West Virginia makes clear that, contrary to current understandings, design and decoration are not antithetical to serious political commitment. As voices on the soundtrack recount the struggle against industrial bosses for safety and equity amongst the miners, the image flickers and flutters in optically-printed mosaics of location photography. We might take these as a brutally elegant visualization of the state of ravaged lungs, riven with patches of black. Form does not clarify a political understanding, it renders it indelible. With poetic text by Kimiko Hahn. - Phil Coldiron https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774286648542-Q00A1SV7KA4HY7MV9A8V/What+Are+the+Wild+Waves+Saying_.jpg Archive - Archive: Year Three - What Are the Wild Waves Saying? Declan Clarke (72 min) https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774286698327-OW36BCDGIJCIQ6U1HI6F/scenes+de+menage+%28I%29.png Archive - Archive: Year Three - scènes de ménage (35mm trilogy) I (Alexandre Larose, 13 min) II (Alexandre Larose, 15 min) III (Alexandre Larose, 12 min) Alexandre Larose’s scènes de ménage presents film as a palimpsest, a surface that retains faint traces of previous impressions. Unlike a sheet of paper, film is highly sensitive, capable of registering subtle movements of light and air: the shadow of a person crossing a room, leaves gently swaying in the wind. In this alchemical transformation, matter multiplies, disperses, and recondenses. What initially appears to be a hazy accumulation of cigarette smoke becomes a man sitting down in a chair. Once opaque surfaces become translucent, and it is perhaps no surprise that Larose lingers at windows, watching as the dusty glass transform the attitude of the trees beyond. - Genevieve Yue https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774286685065-LPNQMNOBJ9AHX9GI1OKK/scenes+de+menage+%28II%29.png Archive - Archive: Year Three https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774286686864-JO5MWM6BUFNTTXUTIJ5N/scenes+de+menage+%28III%29.png Archive - Archive: Year Three https://www.prismaticground.com/archive/year-two monthly 0.5 2026-03-31 https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774458794296-F1HY7GOTIUG53AAH2V1S/harris.png Archive - Archive: Year Two https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774729413697-P0XPM2E5URERQOHTXHUP/sunshine.png Archive - Archive: Year Two https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774729422088-ON9IY20TOZO0GKB8QPZO/bedouin.png Archive - Archive: Year Two https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774729423494-4O3DKWUZKWT4VRBCKRHT/distant.png Archive - Archive: Year Two https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774729449144-MHBQSBSUNFRN69PR2GF0/halimuhfuck.png Archive - Archive: Year Two https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774729445730-9HM3ZHA75ZHVURTOFZYW/dreams.png Archive - Archive: Year Two https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774729422440-HP8TS6V1GJVR6YUIX9Z1/descending.png Archive - Archive: Year Two https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774729413412-HT6Q3G61747IXHMASZ6M/reckless.png Archive - Archive: Year Two https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774708421458-YYZCZIUR47HJKNYB0LMM/Afterlight-Shackleton.jpg Archive - Archive: Year Two - The Afterlight (35 mm) Charlie Shackleton, 2021 (82 min) https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/48633ccd-b431-4ca5-ba0f-3e2f63a05831/download+%286%29.png Archive - Archive: Year Two Constant (Sasha Litvintseva, Beny Wagner) https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/fb827e03-085d-453d-a696-33a19be790be/download+%285%29.png Archive - Archive: Year Two Autoethnography (Iván Reina Ortiz) https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/4ed79b03-a8f2-4eb9-a725-2412d988d066/download+%287%29.png Archive - Archive: Year Two What We Shared (Kamila Kuc) https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/67f6b08e-0c4a-43ee-a36c-05287f39b202/download+%288%29.png Archive - Archive: Year Two https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/354d18d9-275f-466f-b755-14c9859bf147/download+%289%29.png Archive - Archive: Year Two - Make it stand out Pretend You're There (Katie Colosimo) https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/fed85cc6-6910-4e9a-a3f8-4b55d01c0dbe/download+%2810%29.png Archive - Archive: Year Two Acts of Love (Isidore Bethel, Francis Leplay) https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774728219926-QOOI65GPFRMBG04QXOF7/Nuclear+Family+at+Rocky+Flats+still.jpg Archive - Archive: Year Two - Nuclear Family Creative Agitation. United States. 2021, 95 mins. digital. https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774725530611-JRZXZJLUODHNVJAPIEN1/poster-what-travelers-are-saying-about-jornada-del-muerto.jpg Archive - Archive: Year Two - What Travelers Are Saying About Jornada del Muerto Hope Tucker (14 min) https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/a1bcae5f-4050-4d80-92f5-609742721950/download+%2811%29.png Archive - Archive: Year Two https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/bc7c9f94-d4cb-44de-92c7-3dffa27282af/Screen+Shot+2022-04-21+at+1.30.18+AM.png Archive - Archive: Year Two Strangers (Rajee Samarasinghe) https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/48ed5d61-566b-45bd-8e0a-05af953846ea/download+%2813%29.png Archive - Archive: Year Two Maman Brigitte (Ayanna Dozier) https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/235661d3-aeca-4dd7-8267-4c4dbdf582fb/Screen+Shot+2022-04-21+at+1.39.49+AM.png Archive - Archive: Year Two KŌ (Nathan Howe, 30 min) https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/dca11e34-c4b0-479c-a8f3-fe0ba3bc524e/download+%2815%29.png Archive - Archive: Year Two We Cannot Love What We Do Not Know (Alex Johnston, Kelly Sears) https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/b5a06781-cb0b-4b7a-ac9f-0c94e5a4a380/download+%2816%29.png Archive - Archive: Year Two Last Will and Testament (Frank Heath) https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/de8697ae-02bf-42fb-a274-352878647329/download+%2817%29.png Archive - Archive: Year Two Elephant (Maria Judice) https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774728364836-KJSYSGS1QEDG49DT1278/ATS4a.jpg Archive - Archive: Year Two - Answering the Sun Dir. Rainer Kohlberger, Austria/Germany, 2022, 60 min, digital. Prismatic Ground 2022 closes out on the far side of the structural with Rainer Kohlberger’s pulsating color odyssey Answering the Sun. Proving his ability to digitally transfix as ably as cinema’s flicker forebears, Kohlberger turns his custom software towards a rapid dialogue with one of nature’s mightiest conversants. This churning, strobing, cycling fugue invites a departure from ordinary consciousness and engages the senses in a maximal contemplation of the limits of perception. https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774728611954-A75YAYH3M4JHNROPXFY6/baldino_color_xl.jpg Archive - Archive: Year Two - Color without Color (Phyllis Baldino, 19 min.) Color without Color explores a condition called Achromatopsia. Baldino writes, "I have long been fascinated with color and am equally fascinated by the lack of it. Or more specifically, living in a world of color, but not the color one sees. By learning from my complete achromat collaborators — isolating then extracting the properties of five unique colors, I will convey aspects of a colorless world to a color-normal audience.” https://www.prismaticground.com/archive/year-one monthly 0.5 2026-03-31 https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/8195cc0b-69ad-4dc0-b943-8bfcc3348afd/lynnesachshaifa.webp Archive - Archive: Year One - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774823151884-QRKHYET6YZ9LU6N3FUM1/download+%282%29.png Archive - Archive: Year One https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774823146286-T22IOC8ATR6SMB76D2ZR/download+%281%29.png Archive - Archive: Year One https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774823144236-Z88GDE7I5N9S0YZ07IHJ/download.png Archive - Archive: Year One https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774823454750-9187LCF47OGQQVDHLYX7/download+%287%29.png Archive - Archive: Year One https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774823143378-4M23JCMPL1EMRB8CN8RR/download+%283%29.png Archive - Archive: Year One https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774823462785-ES54KSSTZ8JQCH7LQ0A2/download+%284%29.png Archive - Archive: Year One - https://www.prismaticground.com/ground-glass-award/2021 https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774823460893-OGTHH6HNHNIM6JY3394N/download+%286%29.png Archive - Archive: Year One https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774823458909-GDE5M5JRL07XMZJADBA7/download+%285%29.png Archive - Archive: Year One https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/c880e44a-4e81-41f3-a928-5587c6100705/Wild_Girl_Eva_Tanguay_1.webp Archive - Archive: Year One - Make it stand out Wild Girl (Bill Morrison) https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/29c97f1a-5113-4659-ba7c-4467247c4c02/Cane_Fire_2%2B-%2BAnthony%2BBanua-Simon.webp Archive - Archive: Year One - Make it stand out Cane Fire (Anthony Banua-Simon) https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/e5d5c9ef-e9c4-4542-9973-8c125afc40c1/messages_3.webp Archive - Archive: Year One - Make it stand out Messages 1-3 (Martha Colburn and Pat O’Neill) https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/54636b6d-3ee4-4c4b-b7a6-515cac4fba32/BodiesInDissent-4-min.webp Archive - Archive: Year One - Make it stand out Bodies in Dissent (Ufuoma Essi) https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1ed8ff9d-14eb-44d8-be9f-e1d429dbb9f7/pg_homepage_flat_%26names.webp Archive - Archive: Year One - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.prismaticground.com/ground-glass-award daily 0.75 2026-04-03 https://www.prismaticground.com/ground-glass-award/2026 monthly 0.5 2026-04-03 https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/f6d15ec0-c703-4158-a024-8bf8b4e73a69/Kohei+Ando.webp Ground Glass Award - Kohei Ando - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775064348266-88H46NS6PASA60CVPFCX/Star+Waas.jpg Ground Glass Award - Kohei Ando https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775064376871-AQE4M79L8EA47JUX75ZL/Like+a+Passing+Train+%283%29.jpg Ground Glass Award - Kohei Ando https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775064512688-CVXYLSLSF4TCJTQO0HRU/Sons.jpg Ground Glass Award - Kohei Ando https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775064542696-MXWC8OBVYM6ZB32MROQF/On+the+Far+Side+of+Twilight.jpg Ground Glass Award - Kohei Ando https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775064802918-FTHCAMJ0OCJ506BBHISA/Like+a+Passing+Train+%281%29.jpg Ground Glass Award - Kohei Ando https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775066686341-9GCK1K9G1C8EU3NIHLT7/Oh%21+My+Mother.jpg Ground Glass Award - Kohei Ando https://www.prismaticground.com/ground-glass-award/2025 monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/15691191-f010-44e1-9224-55fe4db645e5/6888e552-2383-4bfa-9e6d-ee5a98f44c2d.jpg Ground Glass Award - Ashish Avikunthak - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774536943930-YUL03MOY1YSTQ3OCWPH9/adc0e278-82af-43a5-807a-d3d8964fa36b.jpg Ground Glass Award - Ashish Avikunthak - KALIGHAT ATHIKATHA 1999 / 16mm The film attemps to negociate with the duality that is associated with the ceremonial veneration of the Mother Goddess Kali-the presiding deity of Calcutta. It delves into the subliminal layers of consciousness, underlying the ritual of Kali worship. https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774536965597-DCYWQGHH0FEO7AVM3RPX/5587cdc9-f346-460c-9456-57d0d9e0bd2b.jpg Ground Glass Award - Ashish Avikunthak - DANCING OTHELLO / BRIHANNALA KI KHELKAKI 2002 / 16mm Shakespearean theatricality meets the subtlety of Kathakali subverted in the dramatic space of street theatre to give birth to a performative 'Caliban'-Khelkali- a hybrid act of articuling the post-colonial irony of contemporary India. https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774536944143-6KN4LKZJ3K42VMDILJH3/b81436b7-882a-4770-8732-53152445e5c0.jpg Ground Glass Award - Ashish Avikunthak - ANTARAL 2005 / 16mm Three women reminisce about their times at school and rekindle and affirm old friendships. They share a strange secret about each other that is never made known to us. The film is a cinematic interpretation of Samuel Beckett's 1967 dramaticule, «Come and Go». https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774536942627-I64HVEL06BMDG6N3G3Y7/41f48fd0-ae87-43c3-a5cb-c6c9a3c7408f.jpg Ground Glass Award - Ashish Avikunthak - VAKRATUNDA SWAHA 2010 / 35mm In 1997, I filmed a sequence - a friend immersing an idol of Ganesha at Chowpati beach, Bombay on the last day of the Ganapati festival. A year later, he committed suicide. After twelve years, I completed the film. Using his footage as the leitmotif, this film is a requiem to a dead friend. https://www.prismaticground.com/ground-glass-award/2024 monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/c62a556e-6c5b-483a-be11-474095df5252/Angelidi_Antoinetta_portrait_2021.jpg Ground Glass Award - Antoinetta Angelidi - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774210123235-DYXNWAAPKNPS8MMVLNVC/Ritual_Still_3.jpg Ground Glass Award - Antoinetta Angelidi - 121280 Ritual Antoinetta Angelidi, Rea Walldén (16 min) The naked body of the pregnant mother. The voice of the daughter. Inside-outside. A song to life. THE MOTHER (fragment of a text by Angelidi, which accompanied the film at its first screenings): The twelfth day of the twelfth month of the year nineteen-eighty was the day before I gave birth to my second child, my son. I. Naked. To come to terms with my fear, I felt the desire to immerse myself into black water, to re-emerge and cuddle my belly. A remembering forgetfulness that to die giving birth is like being born dying. THE DAUGHTER (fragment from the text by Walldén, which is spoken in the film): I return to my second self. Her smell. Mine. The centre I immerse in. Safety is a smell. And I rest. Calmness. The touch. In my head the buzz stops. In her smell, I rest. —Antoinetta Angelidi, Rea Walldén https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774210134499-VLUWPG7TM41GRIQLI0LL/Idees_Still_3.jpg Ground Glass Award - Antoinetta Angelidi - Idees Fixes / Dies Irae Antoinetta Angelidi (60 min) I have been interested in three questions since the beginning: the importance of cinematic writing as juxtaposing dialogue of the elements of heterogeneity, the research of borderlines of cinematic representation, and the incorporation of the creator’s subjectivity in the film. This film addresses the issue of representation of women’s bodies in modern and contemporary art history: gender as construction and not as destiny. It is structured on two axes: on the one hand, the body representations and the body of representation; on the other, writing in situation and not on situations. It is composed as a synchronic and diachronic synthesis and subversion of images and sounds. The inversion of codes, as well as their juxtaposition, constitute the film’s central creative strategies and, therefore, the key for its interpretation. A succession of indirect references and games, subversively comment on aesthetic theories and specific artworks. Music is produced by the repetitive transformations of the sound of speech. The inversions of image and sound function narratively, reinscribing women’s bodies. —Antoinetta Angelidi https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774238538133-I3P182ALDSBGJ1DS78HD/Thief_Still_4a.jpeg Ground Glass Award - Antoinetta Angelidi - Thief Or Reality (35mm) Antoinetta Angelidi (80 min) Reality robs you of your dreams and you have to rob it in order to dream. A darkly optimistic film. Three versions of just one day. Three characters trapped in parallel universes. The invasion of the Thief will unite them. Each point of view produces a different story: fate-randomness-free will. What do they have in common? Mortality. "What I spent, I had. What I saved, I lost. What I gave, I have." —Rea Walldén/Antoinetta Angelidi https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774239329736-3DD2JJR7Y0QEHLAPA2OE/Hours_Still_2.jpg Ground Glass Award - Antoinetta Angelidi - The Hours — A Square Film Antoinetta Angelidi (80 min) Memory as construction and as internal pulse. Spendo, on the edge of suicide, re-lives her life, re-constructs it and, finally, liberates herself. Sadness flows and fills the space. The hours co-exist and intertwine. The world: a flesh-eating mechanism. A descend begins, a rhythmic immersion into the depths of memory, where the evil appears in the form of good. Until memory no longer repeats itself. The hours are noiselessly formed anew. —Antoinetta Angelidi https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774276658144-98F0P3WTFECFO1CK4UFT/ObsessiveHours_Still_1.jpg Ground Glass Award - Antoinetta Angelidi - Obsessive Hours at the Topos of Reality Rea Walldén (88 min) A filmed confession of Antoinetta Angelidi, who has been a pioneer of feminist avant-garde cinema in Greece since the 1970s; who is also my life-long creative collaborator, and my mother. This film is for her a self-revelation, but also performance and direction of the self, as confessions always are. A dialogue with the camera, with me holding the camera, but also with herself and the world. Her testament. An intimate speech about art and life, rape and blindness, but also about human solidarity and the liberating experience of seeing the world anew. It is also a film essay on her gaze. It nodes to her filmmaking techniques. It uses variations and uncanny connections, long shots and jump-cuts, revealing its construction and discreetly incorporating its own metalanguage. For much of the film, Angelidi’s body is immersed in darkness, her face and hands coming out of it as if entering unmediated inside our unconscious and dreams. The film was shot without a crew in the confinement of our flat in Athens, in a single room, during the lock-down. It is about our inner space, at the most secret place of which one finds the Other. —Rea Walldén https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774277133483-QNW1M456ASMLODXMWER7/Topos+Still+2.jpg Ground Glass Award - Antoinetta Angelidi - Topos (35mm) Antoinetta Angelidi (80 min) A parable on place and time. A game of metamorphoses. A passage after death, a second death. A woman gives birth and dies. At the moment of death, her face disintegrates and assumes the aspects of those who stand by her bed. Her body is torn by the conflicts of those who inhabit it and her voice dissolves into many voices and many roles. —Antoinetta Angelidi The film presents an expanded, in-between moment, where memories flow simultaneously, and their consistency has the arbitrariness and exactness of the sequence of a dream. The entire film is a filmed dream. Bodies drift in different rhythms, each has its own individual temporality, while the film records two 24-hour cycles, presenting successively events that may be 20 years or 40 days apart from each other. —Antoinetta Angelidi, August 1984 In unknown places one finds recognizable elements… Some paintings become references. Recognition of a world or its scattered elements that one already carries inside oneself but had not identified till then. So, one starts constructing a world in one’s image. Fragments or layers of the past – light, colours, placements, faces’ movements, stories – reassembled. Time negates itself and yet the film provides many elements of temporality. Many layers of past, many layers of civilisation. The past is there in many ways and yet it doesn’t exist. Space is naked, alive, creating sensations. The perspective of the film is not a person’s viewpoint; it is the space itself who sees. The film’s space is the body, it breathes, sees, listens, grieves, responds. A series of parallel narrations by different elements of image and sound are weaved and conversing with each other. Associations are induced. The film writes itself, it changes, advancing its own writing. The film is the transparency of a journey, both as the narration of an experience and as the narration of its own construction. Around the moment of the difficult passage, are gathered the desires of the people who constitute the different faces of the woman in trial. One is obliged to create the world anew / one tries repeatedly to enter the paintings, entire pieces come out of them / faces are devoured following the geometry of sensations. One becomes a turbulent field. The voice dissolves into many voices and roles. From the fragments, from the image pieces, a new universe is formed. When the mechanism of memory is amended, the universe remains empty. —Antoinetta Angelidi, September 1985 https://www.prismaticground.com/ground-glass-award/2023 monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/8391b046-8d1e-410c-a0f7-823426121230/download.png Ground Glass Award - Anthony Ramos - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774635192554-PJ6X2BNP1M6LE4CWVXVR/download+%281%29.png Ground Glass Award - Anthony Ramos - About Media Anthony Ramos, 1977, 25 min. Ramos' astute deconstruction of television news focuses on the media coverage of President Jimmy Carter's 1977 declaration of amnesty for Vietnam War draft resisters, and his personal involvement with the issue. Ramos, who had served an eighteen-month prison sentence for draft resistence, was interviewed by New York news reporter Gabe Pressman. Using repetition and juxtaposition, he contrasts the unedited interview footage — and patronizing comments of the news crew — with Pressman's final televised news report. In his ironic manipulation of the material, Ramos exposes the illusion and artifice of television news. —EAI https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774635197606-Q5B15XDA9VVS408URAHK/download+%282%29.png Ground Glass Award - Anthony Ramos - Decent Men Anthony Ramos, 1977/2013, 70 min. Decent Men, created over a period of almost forty years, is a video collage built around Ramos' powerful extended monologue on his eighteen months in federal prison for resisting the draft during the Vietnam War. As Ramos, a compelling raconteur, tells the story of his interactions with prisoners and guards as a 23-year-old draft resister, his charged performance narrative is interrupted with vintage cartoons that feature grotesque racial stereotypes. Ramos' stories of prison life are overlaid with footage from the artist's early performances and his 1977 video About Media, which addressed the media's coverage of President Carter's amnesty for draft resisters. The result is an extraordinary first-hand narrative of Ramos' prison experiences within the cultural, racial and political climate of America in the late 1960s. —EAI https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774635197920-GM6VUUYW46KCQ58UUSZW/download+%283%29.png Ground Glass Award - Anthony Ramos - Nor Was This All By Any Means Anthony Ramos, 1978, 24 min. In this densely layered work, Ramos explores his cultural and personal heritage through a collage of recorded and appropriated footage. Juxtaposing African and American landscapes, personal and media imagery, he traces a spiritual and physical journey that moves from Harlem to Goree Island, Cape Verde and Tanzania. In a forceful portrait of cultural disenfranchisement that refers to the African diaspora and the bitter harvest sown by slavery, he challenges the veracity of mass cultural images of African-Americans. —EAI https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774635192879-6TD2KP6PCM3GZ3HYNWNG/download+%284%29.png Ground Glass Award - Anthony Ramos - Mao Meets Muddy Anthony Ramos, 1989, 35 min. Mao Meets Muddy documents a trip Ramos made to Beijing to accompany his good friend, painter Frederick J. Brown, for a retrospective of Brown’s work at the National Museum of China in Tiananmen Square in 1988. It was the first solo exhibition in China of a Western artist, and Ramos sets the stage by narrating in voiceover his personal and inherited views of the country and its politics, molded by the xenophobia of his childhood in the Cold War 1950s. Countering this, Ramos explores the prospect of and precedent for solidarity between Communist China and Black people in America, represented by the occasion of Brown’s exhibition. —EAI https://www.prismaticground.com/ground-glass-award/2022 monthly 0.5 2026-03-29 https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/02a57506-023e-4bab-9190-0c7d3727c50a/christopher+harris.jpg Ground Glass Award - Christopher Harris - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774729445730-9HM3ZHA75ZHVURTOFZYW/dreams.png Ground Glass Award - Christopher Harris - Dreams Under Confinement 2020 (Commissioned by the Wexner Center for the Arts) Frenzied voices on the Chicago Police Department’s scanner call for squad cars and reprisals during the 2020 uprising in response to the murders of George Floyd, Breonna Taylor, and Ahmaud Arbery, as Google Earth tracks the action through simulated aerial views of urban spaces and the vast Cook County Department of Corrections, the country’s third-largest jail system. In Christopher Harris’s Dreams Under Confinement, the prison and the street merge into a shared carceral landscape. (New York Film Festival) https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774729449144-MHBQSBSUNFRN69PR2GF0/halimuhfuck.png Ground Glass Award - Christopher Harris - Halimuhfack 2016 A performer lip-synchs to archival audio featuring the voice of author and anthropologist Zora Neale Hurston as she describes her method of documenting African American folk songs in Florida. By design, nothing in this film is authentic except the source audio. The flickering images were produced with a hand-cranked Bolex so that the lip-synch is deliberately erratic and the rear-projected, grainy, looped images of Masai tribesmen and women recycled from an educational film become increasingly abstract as the audio transforms into an incantation. Performer: Valada Flewellyn https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774729423494-4O3DKWUZKWT4VRBCKRHT/distant.png Ground Glass Award - Christopher Harris - Distant Shores 2016 A sunny afternoon on an architecture tour boat in Chicago is haunted by the specter of the European refugee crises as a disembodied narrator recounts a much more dangerous voyage across altogether different waters. The hazardous journey is the unseen other of the carefree trip down the Chicago River and across Lake Michigan. https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774729422440-HP8TS6V1GJVR6YUIX9Z1/descending.png Ground Glass Award - Christopher Harris - 28.IV.81 (Descending Figures) 2011 '28.IV.81 (Descending Figures)' is comprised of footage Harris shot at a performance of Christ’s Passion, staged as an attraction at a Florida amusement park. We see a well-coiffed, Christian-metal Jesus getting scourged by costume-shop Romans with headset mics, while zaftig women in tennis shoes weep and wail. Meanwhile, the audience penetrates the diegesis quite often—an arm with a camera pops in, or we see the crowd standing around in the heat looking bored. But more significantly, Harris’ use of dual-screen and end flares result in mutual image competition. Jesus gets whipped while yellows and reds ping-pong back and forth across the display. The Romans move through fogs of zipping white projector light. The images themselves operate contrapuntally (close-ups and medium shots, mismatched reaction shots, etc.), but Harris’ use of the pure filmic light continually disrupts these faux-holy scenarios from coming into being. This flimsy display of devotion is shown up by something genuinely overpowering, or at least recognizably real. In a way, this seems to sum up Harris’ practice. Filmic images are things with actual impact in the world, and as such they have an unavoidable ethical dimension. If you’ve got some eyeballing to do, go hard or go home. (Cinema Scope) https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774729422088-ON9IY20TOZO0GKB8QPZO/bedouin.png Ground Glass Award - Christopher Harris - 28.IV.81 (Bedouin Spark) 2009 Approximates a small child’s fantasy world in the dark. In a series of close-ups, the nightlight is transformed into a meditative star-spangled sky. An improvisation, edited inside the camera and shot on a single reel. The stars swirl in silence. (IFFR) https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774729413697-P0XPM2E5URERQOHTXHUP/sunshine.png Ground Glass Award - Christopher Harris - Sunshine State (Extended Forecast) 2007 Florida, 2007. Somewhere in a quiet outer suburb of the Milky Way galaxy, we live our lives in the pleasant warmth of our middle-of-the-road star, the Sun. Slowly but surely we will reach the point when there will be one last perfect sunny day. The sun will swell up, scorch the earth and finally consume it. (IFFR) https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774729413412-HT6Q3G61747IXHMASZ6M/reckless.png Ground Glass Award - Christopher Harris - Reckless Eyeballing 2004 A fairly direct provocation that also functions as a loving treatment of all-too-rarely engaged found-footage material. Eyeballing‘s dominant motif is the image of Pam Grier from her Blaxploitation apex, with an unusual exchange of gazes – hers out at us, and the men in surrounding footage back at her. Harris is quite explicitly exploring the racial dimensions that Laura Mulvey left implicit (to put it kindly) within the Male Gaze question, sending Foxy Brown into the cinematic apparatus as a kind of test case. Can she look back, or will she too be pinned and mounted by the gaze? Or, is there a place for an African-American female spectatorship, an active subject position inside visual culture? https://www.prismaticground.com/ground-glass-award/2021 monthly 0.5 2026-03-29 https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/8195cc0b-69ad-4dc0-b943-8bfcc3348afd/lynnesachshaifa.webp Ground Glass Award - Lynne Sachs - Prismatic Ground honors filmmaker Lynne Sachs with the inaugural Ground Glass Award for outstanding contribution to the field of experimental media. Two film programs curated by Craig Baldwin available through the fest + a conversation with canyon cinema executive director Brett Kashmere on Saturday, April 10th at 4pm Eastern Daylight Time. [Watch the Recording] The following programs of Lynne Sachs's films were originally curated by filmmaker Craig Baldwin as "Sidebars" to accompany a run of Film About a Father Who at The Roxie cinema in San Francisco. They appear here courtesy of Baldwin and Canyon Cinema. Sachs also recently received a career retrospective at the Museum of the Moving Image, curated by Edo Choi. https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774823144236-Z88GDE7I5N9S0YZ07IHJ/download.png Ground Glass Award - Lynne Sachs - Still Life with Woman and Four Objects (1986, 4 minutes) https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774823146286-T22IOC8ATR6SMB76D2ZR/download+%281%29.png Ground Glass Award - Lynne Sachs - Sermons and Sacred Pictures (1989, 29 minutes) https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774823151884-QRKHYET6YZ9LU6N3FUM1/download+%282%29.png Ground Glass Award - Lynne Sachs - The House of Science: a museum of false facts (1991, 30 minutes) https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774823143378-4M23JCMPL1EMRB8CN8RR/download+%283%29.png Ground Glass Award - Lynne Sachs - Which Way is East: Notebooks from Vietnam (made with Dana Sachs) (1994, 33 minutes) https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774823462785-ES54KSSTZ8JQCH7LQ0A2/download+%284%29.png Ground Glass Award - Lynne Sachs - A Month of Single Frames (For Barbara Hammer) (2019, 14 minutes) https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774823458909-GDE5M5JRL07XMZJADBA7/download+%285%29.png Ground Glass Award - Lynne Sachs - Investigation of a Flame (2001, 45 minutes) https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774823460893-OGTHH6HNHNIM6JY3394N/download+%286%29.png Ground Glass Award - Lynne Sachs - And Then We Marched (2017, 4 minutes) https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774823454750-9187LCF47OGQQVDHLYX7/download+%287%29.png Ground Glass Award - Lynne Sachs - The Washing Society (co-directed with Lizzie Olesker) (2018, 44 minutes) https://www.prismaticground.com/year-six daily 0.75 2026-04-03 https://www.prismaticground.com/year-six/program monthly 0.5 2026-04-03 https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/56b99914-6cc1-44e4-8bdb-c39853164bfa/Let+Them+Be+Seen.jpg Year Six - 2026 Festival Program - wave 1: murder mystery of the mind Wed-Thur, April 29-30 at BAM + DCTV https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/f7077a46-e03a-4622-bea8-0e6f4711e6fb/Desire+Lines.jpg Year Six - 2026 Festival Program - wave 2: cinema is Friday, May 1 at Light Industry https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/fe17e1a2-fbda-4ee1-85ba-a3f4a1ff96b7/Joy+Boy.jpg Year Six - 2026 Festival Program - wave 3: on the far side of twilight Saturday, May 2 at Anthology Film Archives https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/9806d32b-3bca-4bd3-a0b2-e74288d5efca/Teyh.jpg Year Six - 2026 Festival Program - wave 4: before everything has a name wave 4: before everything has a name https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/c3456201-87e2-42cb-baca-80b42366061a/Gangsterism.jpg Year Six - 2026 Festival Program - closing night c https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/79ecfc9e-3687-4b99-85db-98f754208507/Kohei+Ando.webp Year Six - 2026 Festival Program - Ground Glass Award 2026 The recipient of the sixth annual Ground Glass Award is Kohei Ando. https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774920075802-YHC3AJ3LDP80Y2KXLTH0/Still%2B003%2Bfrom%2BGoogle%2BDrive%2B%25281%2529.jpg Year Six - 2026 Festival Program - I Heard That They Are Not Going to See Each Other Anymore Ka Ki Wong, 2026, 86 min. https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/d1126243-d9a9-4b2e-b222-c8f9345bfb5f/Still+004+from+Google+Drive.jpg Year Six - 2026 Festival Program - I Heard That They Are Not Going to See Each Other Anymore Ka Ki Wong, 2026, 86 min. https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774919333178-7PDIS8W688LNNYRPY2O4/Cobre+%28Copper%29.jpg Year Six - 2026 Festival Program - Cobre (Copper) Nicolas Pereda, 79min https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/ab7cdced-0495-4cff-bac3-aa412a7586f1/Programming+Censorship+Workshop.png Year Six - 2026 Festival Program - Programming Censorship Workshop Thursday, April 30, 12:30PM DCTV Firehouse Cinema https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774921819287-B4QQBTUL0XASX2SAB5CS/Goodbye+Crescent+Moon.jpg Year Six - 2026 Festival Program - Goodbye Crescent Moon Xiaolu Wang, 2025, 17min, Expanded https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774921819301-MG6PCG4JT3AL935WCELI/A+Bundle+of+Silences.jpg Year Six - 2026 Festival Program - A Bundle of Silences Sofía Gallisá Muriente, 2026, 24min https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774921824894-2WXT2YFJQP7TSYZEWVJE/A+Flower+Falling+Back+Into+the+Earth.jpg Year Six - 2026 Festival Program - A Flower Falling Back Into the Earth Rajee Samarasinghe, 2026, 8min https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774921822267-NXJE1EXNK6KXQRV8EL1W/Penkelemes.jpg Year Six - 2026 Festival Program - Penkelemes Onyeka Igwe, 2025, 19min https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1774921824245-TVGHHR45LDM5JQSRTCWY/New+World.jpg Year Six - 2026 Festival Program - New World Darryl Daley, 2026, 5min https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/cb15173e-0832-45cc-83e8-75de1918ed6b/Afterlives.jpg Year Six - 2026 Festival Program - Afterlives Kevin B. Lee, 88min https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775054965014-682CHH4C4IE7FY3E34V8/Let+Them+Be+Seen.jpeg Year Six - 2026 Festival Program - Let Them Be Seen Nolitha Refilwe Mkulisi, 2026, 75min https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775054980864-A2I899HYTM5FE8YCLOTK/The+Creatures+of+Darkness.jpg Year Six - 2026 Festival Program - The Creatures of Darkness Lisa Malloy, Ray Whitaker, 2026, 15min https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775059454987-L5CEM9SWCHLUJQTPUKIT/Uchronia.jpg Year Six - 2026 Festival Program - Uchronia Fil Ieropoulos, 2026, 97min https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775059453771-WHGV6QTOR16MVE5HA67G/Swing+Swish+Sway.jpeg Year Six - 2026 Festival Program - Swing Swish Sway TT Takemoto, 2026, 7min https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775059899788-Y353NY403469YIBXXURS/Anna.png Year Six - 2026 Festival Program - Anna Chae Yu, 2025, 15min, Expanded https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775059865884-UN24F6UJ2G0SAO7IQS5F/Thy+Sanity+Be+Kept.jpg Year Six - 2026 Festival Program - That sanity be kept Michael Barwise, 2026, 10min https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775059957425-2JQNLFM6CQ22XANLSYGU/A+Shrimp%27s+Daily+Rehearsal.jpg Year Six - 2026 Festival Program - A Shrimp’s Daily Rehearsal Ka Ki Wong, 2026, 10min https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775059959341-UBK29XIXLN9BTNHADFFG/My+Structuralist+Film.jpg Year Six - 2026 Festival Program - My Structuralist Film Angelo Madsen, 2026, 6min https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775059962170-LTXQOUBON3ATV96ICQQ9/Injured_.jpg Year Six - 2026 Festival Program - Injured? Eislow Johnson, 2026, 14min https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775059963282-T2K6EDAEY788HR9FPX2Q/Twin+Snakes.jpg Year Six - 2026 Festival Program - Twin Snakes Lev Kalman, Whitney Horn, 2026, 15min https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775061555416-HR5PYVJ7SR9IRTBLUXDK/ouarda+ouarda.jpg Year Six - 2026 Festival Program - ouarda ouarda: yet another flower film Samy Benammar, with live musical accompaniment by Nicholas Ray, 2026, 25min, Expanded https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775061557378-3Z7M9A71EBXY13DT6DAH/Endless+AScent.jpg Year Six - 2026 Festival Program - Endless Ascent Félix Caraballo, 2026, 25min, Expanded https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775062090887-IB8VF0B2VTXXTU8QPOUP/From+%27Images+and+Sounds%27+to+%27Frames+and+Cuts%27.jpg Year Six - 2026 Festival Program - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775062756724-BZ780I5RWQDONN183FO5/LeatherGraves.jpg Year Six - 2026 Festival Program - Leather Graves Malic Amalya, 2025, 12min, 16mm https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775062759816-QZTZ7D72TQ8RAHQZ7KZ5/Desire+Lines.jpeg Year Six - 2026 Festival Program - Desire Lines Dane Komljen, 2026, 107min https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775070954052-N711JTA7R5FS6R8GNNN3/Joy+Boy.jpg Year Six - 2026 Festival Program - Joy Boy: A Tribute to Julius Eastman Collective Faire-Part, 2026, 64min https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775070951193-V0215HYRS943VEKHS2R6/We+Deh+Here+Still.jpg Year Six - 2026 Festival Program - We deh here Maybelle Peters, 2025, 7min https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775063743457-DVRKISQ56RDRCIUTYWM5/Lightly+Heeled.jpg Year Six - 2026 Festival Program - Lightly Heeled Kioto Aoki, 2024, 3min, 16mm https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775063898733-8ORRZMLLVFSGTW5VKF4P/Brumaire.png Year Six - 2026 Festival Program - Brumaire Vincent Guilbert, 2026, 14min https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775063749458-GXLH7U2PTF6ZFG8J4IJZ/phototropes.jpg Year Six - 2026 Festival Program - Phototropes Blanca García, James Devine, 2026, 3min, Super 8mm https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775063749064-FWX3SVSZC8L7GEBVNIRO/Nude+Descending+from+Inney+Prakash.jpg Year Six - 2026 Festival Program - Nude Descending Dianna Barrie, Richard Tuohy, 2026, 10min, 16mm https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775063747478-ROWE20SKEOWOGVY26WVJ/Stitch+the+Ruin.jpg Year Six - 2026 Festival Program - Stitch the Ruin Željka Blakšić, 2024, 8min, 16mm https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775063748085-1AYWIFMXVN5OFKJUXEA9/Flowers+For+an+Old+Shrine.png Year Six - 2026 Festival Program - Flowers for an Old Shrine Long Pham, 2025, 6min, 16mm https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775063744910-ANAS62T6E5TD5ZYZVIFZ/Goodnight+My+Dear.jpg Year Six - 2026 Festival Program - Goodnight, My Dear Vanij Choksi, 2026, 6min https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775063745281-TRR4N4IQ4H44WXRU4HMG/Rojo+Zalia+Blau.jpg Year Six - 2026 Festival Program - Rojo Zalia Blau Viktoria Schmid, 2025, 11min https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775063742774-Q2DY2HDVRVIJYP3SID1S/La+Durete+de+Mental.jpg Year Six - 2026 Festival Program - La Durete De Mental Charles-Andre Coderre, 2025, 20 min, 35mm https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775071275944-P1GBPGO0F95IYIPIF3YO/Another+Birth.jpg Year Six - 2026 Festival Program - Another Birth Isabelle Kalander, 2025, 70min https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775064348266-88H46NS6PASA60CVPFCX/Star+Waas.jpg Year Six - 2026 Festival Program - Star Waars Kohei Ando, 1978, 3min, 16mm https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775064802918-FTHCAMJ0OCJ506BBHISA/Like+a+Passing+Train+%281%29.jpg Year Six - 2026 Festival Program - Like a Passing Train 1 Kohei Ando, 1978, 3min, 16mm https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775064376871-AQE4M79L8EA47JUX75ZL/Like+a+Passing+Train+%283%29.jpg Year Six - 2026 Festival Program - Like a Passing Train 2 Kohei Ando, 1979, 7min, 16mm https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775066686341-9GCK1K9G1C8EU3NIHLT7/Oh%21+My+Mother.jpg Year Six - 2026 Festival Program - Oh! My Mother Kohei Ando, 1969, 10min https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775064512688-CVXYLSLSF4TCJTQO0HRU/Sons.jpg Year Six - 2026 Festival Program - The Sons Kohei Ando, 1973, 25min, 16mm https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775064542696-MXWC8OBVYM6ZB32MROQF/On+the+Far+Side+of+Twilight.jpg Year Six - 2026 Festival Program - On the Far Side of Twilight Kohei Ando, 1994, 39min, 35mm https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775071584798-AED82M7A8SAYELR8ZJXG/Perfect+Image_.jpg Year Six - 2026 Festival Program - Perfect Image? Maureen Blackwood, 1989, 30min https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775096686475-N99MS9IT40QWB71SLY59/La+Ronde+de+Voodoo.jpg Year Six - 2026 Festival Program - La ronde de vodou Elsie Haas, 1989, 52min https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775075099987-CDL0KVNWSNTFMVCX7GQM/Night+Swing.png Year Six - 2026 Festival Program - Night Swing TT Takemoto, 2min, 2026, 16mm https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775075065164-N3WCOWCCJSEN8DT0VAOR/Tamago+Stories+One.jpg Year Six - 2026 Festival Program - Tamago Stories One Kioto Aoki, 2026, 3min, 16mm https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775075122675-FYBHT88DBGHZWXA2J2L8/Ceiling.jpg Year Six - 2026 Festival Program - Ceiling Hu Didi, 2026, 8min, 16mm https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775075151114-W1UWSK5IB8BSGUZ9PEV4/Testament.png Year Six - 2026 Festival Program - Testament Mike Stoltz, 2026, 6min, 16mm https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775075185758-MHZFE4UHGH9UQIGG46L0/Artificial+Horizons+Test.jpg Year Six - 2026 Festival Program - Artificial Horizons Test Mike Stoltz, 2026, 6min, 16mm https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775075211742-R59N5OY06IWPRM06UTKO/Xtended+Release.jpg Year Six - 2026 Festival Program - Xtended Release Joshua Gen Solondz, 2026, 15min, 16mm https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775075254735-0T1HSVF1QYUQMQU7SRH2/Chang+Gyeong+Main.png Year Six - 2026 Festival Program - Chang Gyeong Lee Jangwook, 2025, 18min, 16mm https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775075304859-L9PQOZCOTZO1E0QSJHIS/Tooborac+from+Inney+Prakash.jpg Year Six - 2026 Festival Program - Tooborac Richard Tuohy, Dianna Barrie, 2026, 9min, 16mm https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775075556254-ZY7N1WQMLA686S565IQA/Surrendur.jpg Year Six - 2026 Festival Program - Surrendur Karthik Pandian, 2026, 87min https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775096538860-S3BSU5DRAGASPEJKEB2O/Levers.png Year Six - 2026 Festival Program - Levers Rhayne Vermette, 20min, Poetry Reading https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775087532528-7JUG2Q84KGQ8792IYX7E/Crunch+%28Invisible+Scissors%29.jpeg Year Six - 2026 Festival Program - Crunch Invisible Scissors, 15min, Live Music https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775087566403-AGAUP6LXIUJQCG2Y1BR3/Archura+Leaves+the+City+Forever.png Year Six - 2026 Festival Program - Archura Leaves the City Forever Yusuf Demirors, 2026, 12min https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775087611767-F2ZBGFTP23AT06D71H1F/To+Summon+A+Seer.jpg Year Six - 2026 Festival Program - To Summon a Seer Alan Medina, 2026, 8min https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775087665485-A0WJSF0P5EBOTTJY1AOZ/%E9%80%86%E7%AB%8B%E3%81%A1%E9%80%86%E7%AB%8B%E3%81%A1+_+If+pinholes+were+right+side+up%2C+I+would+be+doing+handstands+.jpg Year Six - 2026 Festival Program - 逆立ち逆立ち : If pinholes were right side up, I would be doing handstands Kioto Aoki, 2024, 3min, 16mm https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775087702456-6VFWUO45KJ77DP4NMRCS/Landscape+Afternoon+from+Prismatic+Ground.png Year Six - 2026 Festival Program - Landscape in the afternoon Lee Jangwook, 2026, 14min, 16mm https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775087740565-FGBA8M5Y45ZGQ97FMYN5/Mounds+Above+the+Earth.jpg Year Six - 2026 Festival Program - Mounds Above the Earth Jiayi Chen, 2025, 5min, 16mm https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775087777908-464D578Z0PMP83CEGOB1/It+Must+Be+Because.jpg Year Six - 2026 Festival Program - It Must Be Because I Decided to Leave Zhouyun Chen, 2026, 19 min https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775096446638-8WN72483JPTX890E0905/Horrors.jpg Year Six - 2026 Festival Program - Horror, or the Splendour of An Evening of Film and Poetry Guest Curated by Shiv Kotecha and Courtney Stephens https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775088598435-GTT0X24GRVBSOLBDFIDS/Rotating+Signals.jpg Year Six - 2026 Festival Program - Rotating Signals Chae Yu, 2025, 10min https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775094400909-U8YZ046K7RLEKKVJPBKD/The+Goblin+Play.jpg Year Six - 2026 Festival Program - Goblin Play Chae Yu, 2025, 47min https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775088978066-SRMAHKTAZTPFZUDTN8F2/Chronovisor.jpg Year Six - 2026 Festival Program - Chronovisor Kevin Walker, Jack Auen, 2026, 99min https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775090303269-Z6NN6O7I1B9WAFFT45N9/A%CC%80wo%CC%A3%CC%80+oju%CC%81+o%CC%A3%CC%80run+%28The+Colour+of+the+Sky%29.jpg Year Six - 2026 Festival Program - Àwọ̀ ojú ọ̀run (The Colour of the Sky) Judah Iyunade, 2026, 71min https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775090320643-QDJ7JXALJ2ULJA5OJSNS/An+Afternoon+with+a+Gnawa.jpg Year Six - 2026 Festival Program - An Afternoon with a Gnawa Meena Nanji, 2026, 12min https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775091150050-ZDUHA5J7NDWQ2ED23EGG/Computer+Chess+3.jpg Year Six - 2026 Festival Program - Computer Chess Andrew Bujalski, 2013, 92min, 35mm https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775091185173-NTWIQOGRL0FPEGISF3V5/Sitrep+5.jpg Year Six - 2026 Festival Program - sitrep Blair Barnes, 2026, 20min https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775091379070-FXGD14K35LQGX6Y3995S/Concealed+and+Denied.jpg Year Six - 2026 Festival Program - Concealed and Denied Jordan Lord, 2026, 35min https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775091382599-TOM061HE2ZD915AQDV5C/The+Glass+Booth.jpg Year Six - 2026 Festival Program - The Glass Booth Jenny Brady, 2026, 33min https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775096201252-PGTIZ3TCXUJZ5HUBXJST/Atash+1.jpg Year Six - 2026 Festival Program - Atash (Thirst) Parine Jaddo, 1995, 14min https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775096205816-MF8C147B8I5RZYTT2D22/Aisha+1.jpg Year Six - 2026 Festival Program - Aisha (Surviving) Parine Jaddo, 1999, 32min https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775096211647-LBUZ75KQZFZV492GY01U/Teyh.jpg Year Six - 2026 Festival Program - Tayh (Astray) Parine Jaddo, 2002, 21min https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775092486972-D75HIOYLKPU3I37HXIH3/My+Friends+Terayama.jpg Year Six - 2026 Festival Program - My Friends in My Address Book Kohei Ando, 1974, 3min, 16mm https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775092513164-UCM9HO2FDI1VB2CZN3L0/Every+Contact+Leaves+a+Trace.jpeg Year Six - 2026 Festival Program - Every Contact Leaves a Trace Lynne Sachs, 2025, 83min https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775092884115-Q8J1TG4JOQQ5BGFZ2529/Anomalies+in+a+Landscape.jpg Year Six - 2026 Festival Program - Anomalies in a Landscape Félix Caraballo, 2025, 8min, 16mm https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775092934566-OBZGA690DLMQPN64KE7H/In+the+Manner+of+Smoke.jpeg Year Six - 2026 Festival Program - In the Manner of Smoke Armand Yervant Tufenkian, 2025, 91min https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775093153722-890MO18GYFV46JWVR6ER/World+Enterprises.png Year Six - 2026 Festival Program - WORLD ENTERPRISES Anthony Banua-Simon, 2026, 14min https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775093195533-90HQ9ZWA7GP3W6XWB1TY/Aanikoobijigan.jpg Year Six - 2026 Festival Program - Aanikoobijigan Adam Khalil, Zack Khalil, 2026, 80min https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775093439972-BWI1NLHFKUZL7P8B8XLZ/before+everything+has+a+name.jpg Year Six - 2026 Festival Program - before everything has a name An-li dīng, 2026, 17min https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775093440266-6CH0UFFV78WM1KK8YUFE/Masayume.jpg Year Six - 2026 Festival Program - Masayume Nao Yoshigai, 2026, 110min https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775093985861-N6PYWIOMXUS0854RYX4C/Article+4.jpg Year Six - 2026 Festival Program - Article 4 Hsin-Yu Chen, 2026, 4min https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775094004632-9UI06U0SWZCM9GBBWB2O/Branches+From+Concrete.jpg Year Six - 2026 Festival Program - Branches From Concrete Zhou Zhenyu, 2026, 14min https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775094021359-FKXPJPP04ZGCHSWAZEPS/Words+Fly+Back+to+the+Black+Earth.jpg Year Six - 2026 Festival Program - Words Fly Back to the Black Earth Xiao Zhang, 2026, 19min https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/1775094039902-GQ2CFYOQDOMQ2BU2Q9NA/Redland+Hooves.jpg Year Six - 2026 Festival Program - Redland Hooves Kaiwen Ren, 2026, 27min https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/bcdc49c0-4da4-4cfa-9e05-a1af108d19e8/Gangsterism.jpeg Year Six - 2026 Festival Program - Gangsterism Isiah Medina, 84min. https://www.prismaticground.com/home daily 1.0 2026-04-03 https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/d1126243-d9a9-4b2e-b222-c8f9345bfb5f/Still+004+from+Google+Drive.jpg https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/bcdc49c0-4da4-4cfa-9e05-a1af108d19e8/Gangsterism.jpeg https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/4da7ffc6-6577-47d9-a009-f330c0df7f5a/criterion+2.png https://www.prismaticground.com/store daily 0.75 2026-03-28 https://www.prismaticground.com/store/p/2026-wristband monthly 0.5 2026-04-01 https://images.squarespace-cdn.com/content/v1/69a889125cee131f0b716964/4e484d8d-75ad-46ca-a3f9-9be22ac38621/year+6+wristband.png Store - 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