21st November at 8:00pm at Fabrica Gallery
Jeannette, the Childhood of Joan of Arc
Jeannette, l'enfance de Jeanne d'Arc
Bruno Dumont / 2017 / 105 mins / French with English subtitles
+ Surrealism and the Maid of Orléans - Intro from
ever-unpredictable Bruno Dumont (L’il Quinquin) takes another
unclassifiable, leftfield turn with this audacious, 15th century-set,
speed metal / trip hop tinged musical.
1425, and the 8-year-old future Joan of Arc already has the weight
of the French nation on her shoulders, as she grapples with matters
of the soul, the brutality of war with the English, and an overarching
sense of a greater calling. Set to an electronics-heavy score by
French metal musician Igorrr, ‘Jeannette’ follows her
early path from faith to fanaticism, aided along the way by head-banging
nuns, visions of levitating saints and beautifully off-kilter dancing.
on location in the Calais countryside, Dumont employs a cast of
non-actors performing their songs live for the camera, and laces
the film with oblique, deadpan mysticism drawn from the works of
19th Century poet Charles Péguy.
somewhere between Straub-Huillet and Headbangers Ball, Monty Python
and Messiaen, Bruno Dumont's new feature JEANNETTE marks an unexpected
and near-perfect synthesis of the French iconoclast's many disparate
interests and obsessions… he's responsible for some of the
most exhilaratingly alive cinema in the world right now."
Jordan Kronk, Cinema Scope
singular musical gloriously combines gorgeous beachside settings,
idiosyncratic non-actors, beautifully low-key singing, and heavy
metal for one of the most joyous experiences the [Cannes] festival
has to offer." Elena Lazic, Seventh Row
as part of BFI
Musicals! The Greatest Show on Screen, a UK-wide film season
supported by National Lottery, BFI Film Audience Network and ICO.
7th June at 8pm
Iberian Visions: Experimental and Auteur Cinema from Spain
Green Room, Phoenix Brighton, Waterloo Place, BN2 9NB
Colour offer a glimpse into current experimental and auteur cinema
from Spain, screening a selection of films praised at major festivals
and from directors who are slowly making their mark nationally and
Lois Patiño, 2015, SPA/POR, 23 mins
An instant in the memory of landscape: the smuggling that for centuries
crossed the line between Portugal and Galicia. The Gerês Mountains
knows no borders, and rocks cross from one country to another with
insolence. Smugglers also disobey this separation. The rocks, the
river, the trees: silent witnesses, help them to hide. They just
have to wait for the night to cross the distance that separates
'The single best short film in Wavelengths and one of the best
films of the year' (Michael Sicinski, MUBI)
Friend the Moon
Velasco Broca, 2016, SPA, 15 mins
Hadji is a disabled young Hindu man who lives humbly, close to the
river Ganges. After losing what little he had, he is accepted as
a disciple by a strange spiritual leader of Russian origin. This
alliance will lead them to some bizarre incidents that will have
consequences throughout the other parts of the West.
Luis López Carrasco, 2017, SPA, 23 mins
Tesa Arranz, a key figure in the 1980s Madrid scene and the lead
singer of the Zombies, has painted over 500 portraits of outer-space
'A magnificent documentary about one of the most characteristic
figures of the eighties in Madrid, and about this decade, its figures
(Almodóvar, Zulueta, Berlanga, nobody escapes the memory
of Tesa) and this necessity of López Carrasco to construct
new narratives from Spain’s contemporary history. A fantastic
endeavor that wants to rescue the fundamental discourses of a generation
that is “now in power, trying to manipulate and control any
dissident discourse”. This articulation of the personal
portrait and the testimony of the social array, is what makes the
Spanish filmmaker so special. A VHS treat in 2017 (José
Sarmiento Hinojosa, DESISTFILM)
Elena López Riera, 2016, SPA, 16 mins
On a hot and sticky summer afternoon in a town in southern Spain,
a woman skins a rabbit with her bare hands, as dogs, children and
the elderly look on, entranced by the daily ritual of death.
May 2019 at 8pm
Reminiscences of a Journey to Lithuania
Jonas Mekas, Lithuania/USA, 1972, 82 minutes
Phoenix Brighton, Green Room, Waterloo Place, BN2 9NB
A free screening in tribute to filmmaker, poet and champion of underground
cinema - Jonas Mekas. Pioneer of the diary film, Mekas confirmed
the 'home movie' as a film form in itself and 'Reminiscences...'
is one of the finest examples of intimacy ever put on celluloid.
Completed in 1972, it's a film journey in search of a place to call
‘home’ - a place to which everybody returns as to the
central point of his or her life.
As Mekas writes, “The film consists of three parts. The
first part is made up of footage I shot with my first Bolex, during
my first years in America, mostly from 1950–1953. It shows
me and my brother Adolfas, how we looked in those days; miscellaneous
footage of immigrants in Brooklyn, picnicking, dancing, singing;
the streets of Williamsburg.
"The second part was shot in August 1971, in Lithuania. Almost
all of the footage comes from Semenis1kiai, the village I was born
in. You see the old house, my mother (born 1887), all the brothers,
goofing, celebrating our homecoming. You don’t really see
how Lithuania is today: you see it only through the memories of
a Displaced Person back home for the first time in twenty-five years.
“The third part begins with a parenthesis in Elmshorn, a suburb
of Hamburg, where we spent a year in a forced labor camp during
the war. After the parenthesis closes, we are in Vienna where we
see some of my best friends—Peter Kubelka, Hermann Nitsch,
Annette Michelson, Ken Jacobs. The film ends with the burning of
the Vienna fruit market, August, 1971.”
28th April 2019 at 12 Midday.
Brighton,10-14 Waterloo Place, Brighton BN2 9NB
Adam Bohman: By Biro And Umbrella Spring
Cathy Soreny, UK, 60 mins
As part of this year's Colour Out of Space festival,
a free lunchtime screening of Cathy Soreny’s portarit of artist
extradinaire Adam Bohman. Adam and Cathy will be here too for a
Q+A with Resonance FM’s Ed Baxter.
Bohman's entire being is pervaded by collage - from his artworks
to his sound works. He magpies and gleans away pedestrian gems,
and from his hoard he conjures up a prolific and kaleidoscopic creative
output. It’s a pure and wonderful compulsion. Filmed within
his creative den - his sublimely cluttered flat in Catford - Adam
guides us through tabletops overspilling with springs and metal,
tottering piles of collages, and cut-up takeaway menus, offering
an intimate glimpse into his processes and passions.
28th March 2019 at 7.30pm
in the Friends Meeting House, Ship St, Brighton, BN1 1AF
GW Pabst 1931 Germany 88 mins
mark the eve of the original date of the UK's split from Europe,
join us for a special screening of the restored version of Pabst's
gripping, internationalist classic.
When a coalmine collapses on the frontier between Germany and France,
trapping a group of French miners, workers on both sides of the
border defy the orders of their bosses, put aside national prejudices
and wartime grudges, to launch a dangerous rescue operation.
Pabst brings a vivid sense of claustrophobia to this ticking-clock
scenario, using sets designed by Erno Metzner to create a maze of
soot-choked shafts in which the miners struggle for survival. No
music is used. Instead the remarkable sound design is a whirl of
clanking chains, metal against metal and the drone of elevator shafts.
Multiple versions of the film exist; Dialogue spoken in French and
German was left unsubtitled in their respective versions at Pabst
insistence, highlighting the difficulties in communication between
This new restoration (fully subtitled), reinstates a final bitter
coda as the authorities regain control of the borders – this
was after all, a Germany on the brink of National Socialism.
Inspired by a real-life mine collapse, Kameradschaft (Comradeship)
is both an edge of the seat disaster film and a stirring plea for
international cooperation. It cemented Pabst’s status as one
of the most morally engaged and formally dexterous filmmakers of
Walter Ruttman 1930 Germany 7 min
To open the evening, an early radical experiment in sound collage
and audience spectatorship.
Over the course of one weekend in 1930, Ruttman documented the life
of Berliners, using a 35mm movie camera while never removing the
lens cap - treating the camera solely as the most sophisticated
audio recording device of its time. As Ruttman intended, we’re
screening the film in the dark, allowing the audience to focus on
the unique qualities of the sound itself. You provide the images.
2nd 2019 at 7.30pm
of Light: Animation Special
Grand Bizarre (Jodie Mack) + Live Film and Sounds from
F-Ampism + Films from Karen Constance +
Phoenix Brighton,10-14 Waterloo Place, Brighton BN2 9NB
excited to present the extraordinary new feature by acclaimed experimental
animator Jodie Mack, alongside new work from Brighton based artists
F-Ampism and Karen Constance, and a short 'couplet' from US master
collagist Lewis Klahr.
Jodie Mack, 2018, USA, USA, 60 mins
The Grand Bizarre
is the culmination of Mack’s many varied interests and experiments
to date. Shot in a dozen countries, the film finds Mack’s
trademark, colour-coordinated textiles dancing across a variety
of exotic locales (India, Mexico, Holland, Morocco, and Turkey represent
just a partial itinerary) through a meticulous process of frame-by-frame
photography and practical production magic. Playful and propulsive,
in Mack’s dazzling montage, everyday sources—maps, globes,
plane tickets, even back tattoos—reveal both cross-cultural
codes and universal truths, bringing this eclectic cinematic travelogue
into a seamless dialogue with each viewer’s unique worldview.
It’s all driven by a homemade soundtrack that locates a heretofore
unrealized intersection between hip-hop, chiptune, and synth-pop.
Top five US films of the year you must see - Sight and Sound!
is the audio-visual solo project of Paul Wilson of improvising
sextet Bolide. His work has featured abstracted melodics, hidden
everyday exotica, percussive clusters, stop motion animation and
destroyed & mutated radio waves - the only constant an hypnotic
accumulation of sound and vision. F-Ampism will perform live to
a new moving image work.
Constance is a Scottish visual and sound artist based in
Brighton. Her paintings and collages have been exhibited world wide
and featured on numerous experimental album covers, gig posters,
fanzines, and private press releases - often with sound artists
and musicians she has collaborated with sonically. They can be vibrant,
textural, scary and hilarious in equal measures. This is a first
screening of new short works in stop motion animation.
Lewis Klahr, 2010, USA, 10 minutes
A love story
about cars, girls, boys and time, carried away by songs from the
Shangri-La's and The Boss. Lewis
Klahr has been working with collage filmmaking since 1977. In Klahr’s
work, images from mid-20th-century advertisements, comic books,
and other ephemeral talismans of American popular culture are animated
to produce submerged narratives about the emotional and dream lives
of his memory-haunted characters.
the age of industrial sound and light, Lewis Klahr makes special-effects
movies that are almost insanely artisanal— one man, labour-intensive
animations that are at once crude and poetic, blunt and enigmatic,
as funny as they are inventive... [He is] the reigning proponent
of cut and paste.” J. Hoberman, Village Voice
Sears on April Snow
February 2019 at 4pm
Djibril Diop Mambéty, 1973, Senegal, 89 mins
The Attenborough Centre for the Creative Arts, Falmer, BN1 9RA
New restoration from the World Cinema Foundation
by Dr Estrella Sendra Fernandez
With a stunning
mix of the surreal and the naturalistic, Mambéty incendiary
debut follows two young lovers as they attempt to flee the dead
end clutches of Dakar for an idealised dream of life in Paris. Travelling
through the countryside and urban sprawl on a motorbike pinned with
a cow’s skull, they plan to fund their escape through petty
crime and wild schemes, encountering obstacles and visions en route,
both real and mystical.
part by the French New Wave, Mambety, though only 28 and with no
formal film training, captures with raw, visceral energy the clash
between folk customs, superstitions and the enforced adoption of
European colonial attitudes, in a country seemingly at a crossroads.
by dazzling imagery and music, a pace that jumps between the manic
and meditative, this vivid, fractured portrait of Senegal in the
early 1970s, is widely considered one of the most important African
films ever made.
In an interview
Mambety said "one must have a mad belief that anything is possible....Cinema
must be reinvented each time, and whoever ventures into cinema must
also share in its reinvention."
the film we are pleased to welcome Dr Estrella Sendra Fernandez,
a documentary filmmaker, journalist, lecturer and researcher at
Winchester School of Art, University of Southampton, who specialises
in Senegalese festivals and African Cinema. She is also part of
the curatorial team at Cambridge African Film Festival, which she
directed in 2014 and 2015.
Part of Open
Colour’s 'Africa's Lost Classics' series in association with
the Africa in Motion Film Festival - more screenings to follow.
-Tickets and details of this and all screenings at ACCA's new Sunday
CINEMA CLUB can be found here:
Centre for the Creative Arts
bouki: Mambéty and Modernity
The World Cinema Foundation at Cineteca di Bologna/L’Immagine
Ritrovata in association with the family of Djibril Diop Mambéty.
Restoration funding provided by Armani, Cartier, Qatar Airways and
Qatar Museum Authority
26 January 2019 at 7.00pm
UK Premiere: LUDO IS FANTASTIC
Willie Stewart, 2018, Belgium/Ireland, 70 minutes
Stewart in Q+A with Tom Roberts
+ Performances from Unks
Of Pleasure + Burbling
of the Mich Mind
Hanover Community Centre, 33 Southover St, Brighton BN2
first came to prominence in Antwerp’s turbulent, underground
70’s art scene. He orchestrated mass, Fluxus style performances
and released a series of experimental films including Saturnus (1971),
a DIY sci-fi transmission from another world shot with a homemade
fish eye lens, and Lysistrata (1975), an all nude adaptation of
Aristophanes’ satire featuring a soundtrack of primal yelling,
tape delay, instant sax blasts and de-tuned guitar.
painter, sculptor, holographer, musician, and performance artist,
Mich has worked across all artforms for over five decades, and collaborated
widely with artists including Thurston Moore, Sigtryggur Berg Sigmarsson,
Dennis Tyfuss, Jennifer Walshe, Blood Stereo, Wataru Kasahara, Kiyoharu
Kuwayama, Burial Hex, The Joyous Cosmology, Syed Kamran Ali, Pascal
Nichols, Roman Nose, Blue Yodel, Mama Bar, Kommissar Hjuler and
a mix of incredible archival footage, interviews with family and
friends and fly on the wall footage, Ludo Is Fantastic immerses
us in the world of the 'Mich Dimension.' We're very pleased to welcome
director Willie Stewart for a Q+A hosted by Tom
evening two short performances from
Duncan Harrison and Maureen Hallomas tap into to the Zodiac mind
melt and heavy AV seance from the deep web.
of the Mich Mind
Brighton improv old hands James Parsons & Al Strachan sit down
with Karen Constance & Dylan Nyoukis and try and envisage the
state of Ludo Mich's mind while keeping the lizards at bay.
January 2019 at The Regency Town House, Hove, BN3 1EH
Marvellous Mabel Normand
We’re getting 2019 underway with a special screening of short
films from the trailblazing, unsung pioneer of screen comedy Mabel
Normand. Normand was the irrepressible spirit of early Hollywood,
an extraordinary comic performer who starred in at least 167 shorts
and 23 features - from the anarchic two reelers of Mack Sennett's
slapstick Keystone company to the more sophisticated comedies of
untrained, her understated acting style seems wholly contemporary.
She also directed her own films, ran a production company, did her
own stunts, possibly threw the first on screen pie, and worked with
the best – including, in this programme, Charlie Chaplin and
a young Oliver Hardy. But make no mistake – Normand’s
captivating on screen presence made her absolutely the star.
As a moral panic
swept 20s Hollywood, however, Normand found herself caught up in
scandals that would see her sidelined by the industry. Now, as part
of the British Film Institute's ‘Comedy Genius’ tour,
this collection of short films brings Normand back into the spotlight.
It includes MABEL'S BLUNDER(1914), MABEL'S DRAMATIC CAREER (1913),
HIS TRYSTING PLACE (1914) and SHOULD MEN WALK HOME? (1927), each
with a newly commissioned score by The Meg Morley Trio.
2018 at 7pm - Sallis Benney Theatre
Where I Am is Here - Films from Margaret Tait, Marie
Menken, Ute Aurand, Annabel Nicolson and Joanna Margaret Paul.
Part of CineCity
A poet, a defiantly
independent filmmaker, an artist of unique and extraordinary vision
– the great Margaret Tait would have been 100 on November
11th 2018. We’re celebrating her centenary with a special
programme featuring new restorations of Tait’s film poems,
alongside rare 16mm screenings from artists working in the tradition
of intimate, first person cinema.
Tait once said of her films, that they are born "of sheer wonder
and astonishment at how much can be seen in any place that you choose…if
you really look."
film-poet Margaret Tait produced an exquisite body of work combining
poetry, portraiture, music, ethnography, and animation. She studied
filmmaking in Rome during the height of Italian neorealism before
returning to Scotland in the early 1950s, where she found inspiration
in the contrasting daily rhythms of Edinburgh and the Orkney Islands.
In an early jewel of a film, A PORTRAIT OF GA (1952), Tait cut together
birdsong and snippets of Orkney lore with shots of her mother and
the rugged island landscape to produce a startlingly poignant impression
of family andplace. She explored similar themes in later films like
WHERE I AM IS HERE (1964), COLOUR POEMS (1974), and AERIAL (1974)
– each screening tonight - reflecting on the passage of time
while attending to the details of everyday life.’ (Amy Beste)
October 2018 at 7.30pm at the Sallis Benney Theatre, Brighton
Graves Full Mantis
Jake Meginsky + Neil Cloaca Young / USA / 2018
The first ever
feature-length portrait of renowned percussionist, thinker and creative
dynamo Milford Graves, a suitably free-flowing exploration of his
kaleidoscopic creativity and relentless curiosity. Graves has performed
internationally since 1964, both as a soloist and in ensembles with
such legends as Albert Ayler, Giuseppi Logan and Sonny Sharrock.
He is a founding pioneer of avant-garde jazz, and he remains one
of the most influential living figures in the evolution of the form.
Graves tells stories of discovery, struggle and survival, ruminates
on the essence of "swing", activates electronic stethoscopes
in his basement lab to process the sound of his heart, and travels
to Japan where he performs at a school for children with autism,
igniting the student body into an ecstatic display of spontaneous
Oscillating from present to past and weaving intimate glimpses of
the artist's complex cosmology with intense performances from around
the globe, Milford Graves Full Mantis features a 77-year-old polymath
who is anything but ordinary, and shows no signs of slowing down,
in a documentary as radical as his music.
captivating sound poem.' - The New York Times
'An exquisite music film and an example of how vital documentaries
about music, art, life and the creative process are when created
with passion and imagination.' - The Quietus
‘A riveting experience whether you're familiar with Graves
or not’ - The Wir
September 2018 in The Friends Meeting House, Brighton
Isiah Medina, Canada, 2015, 65m
of the most acclaimed and hotly debated experimental films in recent
years, Medina’s debut is a fragmented, digital diary exploring
ideas of time, love, philosophy, poverty and poetry.
follows Medina and friends through a densely layered montage of
notes, sketches, reality and re-enactments, edited from a variety
of sources and formats. 'Converting the flashing 88:88 clock - the
reset display that appears when power is restored to dwellings -
into an equation of love and infinity, Medina’s film seeks
to explore alternate ways of being, resulting in one of the most
unique representations of class and race in Canadian filmmaking
and sounding the arrival of a fresh new voice.' TIFF
bold debut feature that audaciously rethinks the possibilities and
language of cinematic form. A powerful and original new voice has
been discovered.' - Sight & Sound
June 16th at Phoenix Brighton
Breaks Behind the Eyes: Summertime special
Betzy Bromberg, 1978, USA, 13 mins, 16mm
heated, summer-in-the-city excursion into the streets, strip clubs
and low rent apartments of late 70s, pre-Giuliani NYC. ‘Verite
footage of Lower East Side bikers, Times Square topless dancers,
and Coney Island crowds achieve a highly charged atmosphere of manic
exhibitionism.’ J. Hoberman / Art Forum.‘In
Ciao Bella, Bromberg shows us a world of crowded New York streets
and hauntingly empty interior spaces, graced briefly by wisps of
childish energy and the provocation of nearly naked women. She deftly
contrasts such vibrant exuberance with a sense of devastating loss,
and the effect is at once brazenly personal and incredibly powerful.
Unfolding desire merges with the ever-present reality of the threat
of losing what you love' Holly Willis, IFilm
Day Before the End
Ang Araw Bago ang Wakas
Lav Diaz, Philippines, 2016, 16 mins
2050 and passages from Shakespeare are recited by non-actors in
a nocturnal city awaiting theonslaught of a raging tempest.
is one of the most exciting artists in contemporary cinema. His
sprawling sagas of Philippines tumultuous, recent history are epic
in scope, while bracingly intimate in style, challenging notions
of storytelling and how cinema gives images and sound to voices
of the Principle Prize at Oberhausen, the Jury say it's 'a work
of political urgency. Made by an artist known for works that unfold
over many hours, this short film is both elaborate and succinct.'
para Vivir / Live to Live
Laida Lertxundi, 2015, USA, 11min, 16mm
with a quote from Argentinean writer Adolfo Bioy Casares - 'If I
want to remember what happened on this trip, what should I do?',
Lertxundi's search for answers takes us from sparsely populated
mountain regions via Lertxundi's ECG recordings to Tashi Wada’s
sine waves - all the while it's the filmmaker's body itself that
shapes image, sound and colour.
Lertxundi is a Spanish filmmaker and artist living and working in
California. Her films, shot in and around Los Angeles, are self
reflexive, enigmatic and intensely beautiful. They read like subtexts
to stories waiting to be told.
Fern Silva, 2014, USA, 14 mins
outlaws have begun to take over, engulfing and taming civilization
after centuries of attack, forcing humans to adapt and evolve. Wayward
Fronds references a series of historical events that helped shape
the Florida Everglades, while fictionalizing its geological future
and its effects on both native and exotic inhabitants.
York based Fern Silva is a contemporary master of 16mm filmmaking.
His works reach toward exciting new cinematographic languages while
embodying committed engagement with the troubled, bewildering and
at times exhilarating complexities of globalism. Driven by curiosity
and memory - and drawn to myth, folklore and mysticism - his films
explores narrative, ethnographic and documentary forms while elaborating
a strong personal and poetic cinematic vision.' SF CinemathequeFern
Ian Hugo, 1950, Mexico, 22 mins, 16mm
rare screening of Hugo’s first film, a free-form kaleidoscope
of colour, sound and image, shot largely from the prow of a boat
journeying along the Pacific Coast of South America - through sleeping
villages and tropical lagoons to the mouth of a volcano in the clouds.
The hypnotic soundtrack of chants and drums was improvised as the
film unrolled by Ozzie Smith and recorded by electro pioneer Bebe
Barron.Interpreted by Anais Nin as the universal story of mankind’s
voyage, Hugo says ‘I used documentary footage as a starting
point, and I showed their gradual transformation into dream - the
language of multiple dimensions of our inner world.'
Mike Gibisser, USA, 2014, 5 min
Chicago’s summertime blazes, unanchored. Part of Gibisser's
series of night time long exposures, BlueLoop, July focuses on a
long-standing celebratory tradition in one of Chicago’s lower
west side neighbourhoods. By leaving the camera’s shutter
open for seconds at a time, the film transforms a summertime spectacle
into a dazzling, light-trace animation.
Jeff Keen, 1999, UK, 7 Mins, Cassette
the late, great Brighton based experimental filmmaker is best known
for his dense, hyper-kinetic pop culture animations, this short
audio piece reveals another aspect to his work. Summer Tape isdrawn
from a collection of field recordings Keen made by leaving a cassette
recorder running to capture a Nightingale singing from the overgrown
gardens outside his studio. As you listen, through a haze of cassette
static, the environment itself falls into focus.
18th May at 7.30pm in the Friends Meeting House, Brighton
Ben Rivers, UK, 2016, 66 minutes.
excited to welcome back to Brighton one of our favourite filmmakers
- Ben Rivers will be here to introduce What Means Something, his
warm, immersive portrait of the painter Rose Wylie. Filmed at her
remote home/studio in Kent over the course of a summer, it’s
a joy – a celebration of art, friendship and the working of
two creative processes on either side of the camera.
as Wylie's house is a living repository of her working methods,
the film lays bare Rivers' own artistic approach. Through candid
conversations and observing Wylie at close quarters as she works
on large-scale canvases, drawings and watercolours, we're offered
a rare insight into the process of image-making for the painter
and filmmaker alike.
has said of the film, ‘I met Rose a few years ago and we got
along well. I went to visit her studio and she watched some of my
films. Happily she liked them. So I asked her if I could make a
film about her and she agreed. The film, finally, is a meeting between
Rivers studied Fine Art at Falmouth School of Art, initially in
sculpture before moving into photography and super8 film. After
his degree he taught himself 16mm filmmaking and hand-processing.
His practice as a filmmaker treads a line between documentary and
fiction. Often following and filming people who have in some way
separated themselves from society, the raw film footage provides
Rivers with a starting point for creating oblique narratives imagining
alternative existences in marginal worlds. Over the past 15 years
he’s created a unique body of work and has been the recipient
of numerous international awards.
Wylie (Kent, 1934) was educated at Goldsmiths College and Royal
College of Art. Her large-scale painting is energetic and gives
a sense of freedom and spontaneity. Her images are drawn from memory
and inspired by different levels of visual culture, from cartoons
to films, daily events and art history. The raw brushstrokes laid
on with tremendous physicality and the rough texture of impasto
bring a sense of immediacy, and the combination of text and figure
connects her work to Jean-Michel Basquiat and Philip Guston. Wylies
paintings combine simplicity and innocence, though under closer
inspection they reveal a complex world of references and stories.
Her work is included in many public art collections, such as the
Contemporary Art Society and Arts Council England, London.'
20th April 2017 at Phoenix Brighton - Main Gallery
Man Every Woman is a Star
hidden reverse – the Star System as re-imagined by American
1928 - 1966.
and Inner Space
Andy Warhol, 1966, USA, 33 mins, Twin Screen 16mm
One of Warhol's most intense films is also his earliest experiments
in double screen cinema. Outer and Inner Space features factory
superstar Edie Sedgwick in a loose conversation with her own videotaped
image. Sedgwick had risen to overnight, underground fame after chain-smoking
on the set of Vinyl – Warhol’s adaptation of Clockwork
Orange. In Outer and Inner Space, however, her cool is broken and
she is never less than animated - laughing, frowning, critiquing,
performing, but also increasingly unnerved, not by Warhol's 16mm
camera, but by her own pre-recorded video self.
Both 16mm reels runs for 33 minutes and are played side by side;
What you see is the incredible presence of Sedgwick x 4 - alternating
video/film, video/film, the soundtrack itself becomes a mesmerising
murmur in which only isolated phrases (''We had better times than
anybody else,'' ''I don't believe it'') float to the surface of
and Inner Space' is one of Warhol's great portraits -- a masterpiece
of video art made before the term even existed'. J Hoberman
/ NY Times. You can read Hoberman's full article on Sedgwick and
the background of the film here
Kenneth Anger, USA, 1949, 6 mins, 16mm
From its dazzling opening cascade of dancing gowns through to a
mysterious journey on a floating couch, we follow the reveries of
a reclusive Hollywood starlet played by Yvonne Marquis. Often overlooked
as simply a fragment of an unfinished feature, Puce Moment is in
itself perfect Anger – a marvel of colour and composition,
lighting and shadow, dream and ritual, juxtaposed by two amazing
lo-fi songs given to Anger by Jonathan Halper, who too would shortly
retire from consensus reality. ‘Yes I am a hermit and ecstasy's
Stabs at Happiness
Ken Jacobs, USA, 1960, 15 mins
Meanwhile in the rundown tenement flats and on the rooftops of Williamsburg,
Brooklyn, Jacob's early short captures his former friends Jack Smith
and Jerry Sims at play - both effortlessly exuding a wayward, all
star exuberance against the everyday. 'Material was cut in as
it came out of the camera, embarrassing moments intact. 100' rolls
timed well with music on old 78s. I was interested in immediacy,
a sense of ease, and an art where suffering was acknowledged but
not trivialized with dramatics. Whimsy was our achievement, as well
as breaking out of step.' Ken Jacobs
and Death of 9413: A Hollywood Extra + Live Soundtrack
from Lizzy Carey and Tim Wilton
Robert Florey and Slavko Vorkapich, USA, 1928, 11 Mins
Made on shoestring budget and shot in Vorkapich’s kitchen
using odds and ends – paper cubes, cigar boxes, tin cans,
refracted light and stop motion cutouts, ‘Life and Death…’
tells the story of the fall and heavenly redemption of a hapless
young actor chewed up by the Studio system. Florey and Vorkapich's
DIY take on German Expressionism became an unexpected mainstream
hit thanks to its championing by the likes of Charlie Chaplin. We're
very pleased to welcome artists Lizzy Carey and
Tim Wilton who will rework the film and create
a new, live soundtrack.
Friday 7th April 2017 at Phoenix Brighton
- Main Gallery
us for a programme of rare, experimental 16mm screenings, re-enactments
and performance that upend and play with our expectations of how
we can view cinema. Includes Anthony McCall, the Western ideal,
paper planes, the original (and best) flicker movie and Lorah Pierre.
Describing a Cone
Anthony McCall, 1973, USA, 30 mins, 16mm
McCall’s first, groundbreaking ‘solid light film’
was produced in August 1973 shortly after he fell under the spell
of the New York art scene, after a move from London. The film begins
as a luminous, pencil thin line cuts through a projection space
filled with smoke (originally from cigarettes). Over 30 minutes,
as McCall's hand animated line marks out a circle, a full, three-dimensional
conical form emerges from the darkness. The traditional focus on
the screen is abandoned - the audience is free to move around, interact,
each viewing position revealing a different aspect. Merging the
realms of film, sculpture and performance, Line Describing a Cone
is still - over forty years on - a unique, collective experience.
‘No other film gives its viewers an experience of cinematic
space like this one…It is astonishingly beautiful.’
Davis and J. Robert Parks on viewing Line Describing a Cone
Notes 8 / Interview with McCall
Ernst Schmidt Jr, 1968, Austria, 10 mins, 16mm
Though largely overlooked by film academia, Schmidt Jr. left behind
a fascinating, multifaceted body of work that includes experimental
documentaries, expanded cinema and a feature length drama. This
is his homage to Howard Hughes’ 1930’s WW1 aviation
epic of the same name. Schmidt’s interactive short replaces
Hughes’ on screen fighter planes with off screen paper planes.
Material will be provided or feel free to prepare your own Fokkers
and Spitfighters before hand.
Peter Kubelka, 1960, Austria, 6 mins, 16mm
Composed only of cinema’s purest elements of light and darkness,
sound and silence, Arnulf Rainer remains one of the most radical
achievements in film history. For six minutes and 24 seconds the
film's ever-changing metrical variations of transparent and black
film frames, deafening white noise and relative silence, is dazzling,
roaring, darkening...even soothing. Screening on 16mm – Kubelka
has never sanctioned any his films for use on digital format. “I
lost most of my friends because of Arnulf Rainer” Kubelka.
of Rio Jim
Maurice Lemaître, 1978, France, 6 mins, 16mm
Lemaître is an artist, filmmaker, painter, writer and libertarian
poet born in Paris in 1926. The Song of Rio Jim pays tribute to
Ince and to Hart, ancestors and creators of the Wild West genre.
Its classic cowboy narrative is imageless and played out in sounds
that prompt the spectator to create their very own vision of the
greatest Western ever filmed.
Performance: Hardware Electronics, Material and Sound - Lorah Pierre
Pierre is a sound and light artist working across a number of disciplines
- the recycling of materials, self-built hardware, hacking and bending,
along with a DIY ethos that allows interactive installations and
performances to develop out of temporal space. She has collaborated
with scientists, performers and musicians. Pierre is the founder
and curator of The Experimental Sounding Board, a live platform
between sonic and visual modes of improvisation
CineCity + LUX + Open Colour Present
Thursday 24th November at 7pm
Sallis Benney Theatre
London Film-Makers Co–op 50th Anniversary and Book Launch
LFMC was founded in October 1966 as a distributor and film laboratory
for avant-garde cinema. Within this unique facility, film-makers
were able to control every aspect of the creative process. Many
explored the material aspects of celluloid, whilst others experimented
with multiple projection and performance-based ‘expanded cinema’.
This artist-led organisation asserted the significance of British
work internationally, and anticipated today’s vibrant culture
of artists’ moving image. Tonight's programme features rare
single, double and triple projection 16mm films by Malcolm Le Grice,
Lis Rhodes, Jeff Keen, Guy Sherwin, Gill Eatherley, Annabel Nicolson
Introduced by Mark Webber.
– Malcolm Le Grice (2 screen) 7min
Dresden Dynamo - Lis Rhodes 5 min
Mario Movie – Jeff Keen 5 min
At The Academy – Guy Sherwin 5 min
Hall – Peter Gidal 8 min
Slides – Annabel Nicolson 12 min (18fps)
Play (2 screen) – Sally Potter 7 min
Diagonal (3 screen) - William Raban 5 min
Hand Grenade – Gill Eatherley (3 screen) 8min
Shoot: The First Decade of the London Film-Makers Co-operative 1966-76’
(LUX, 2016), edited by Mark Webber, has been published by LUX to
celebrate the LFMC’s 50th anniversary, it brings together
texts, interviews, images and a large number of archival documents
in exploring the history of the early years of the organisation
3rd November at 7.30pm
Fabrica, 40 Duke Street, Brighton.
A selection of short abstract films which involve electronic
music soundtracks, including several rarities and two world premieres
that push abstraction and electronic sounds into the realm of psychedelic
There will be the first screening in over 50 years of the rediscovered
FC Judd 8mm cine footage of his Chromasonics invention, plus the
first UK screening of one of the earliest films to feature a Moog
synthesizer score; both the film and music created by US composer
Andrew Rudin in 1967. There'll be two new Ian Helliwell video feedback
films with Hellitron generated soundtracks and MORE!
and Introduced by Ian Helliwell
28th September at 7.30pm
in the Friends Meeting House, Ship St, Brighton, BN1 1AF
Pere Portabella., 1970, Spain, 67 minutes
Filmed on set
during the shooting of Jess Franco's 'El conde Drácula /
The Count Dracula', Vampir - Cuadecuc is both a
rapturous, dreamlike reflection on the conventions of horror cinema
and covert political allegory. Portabella dismantles Franco's film
in two ways: On the one hand, he eliminates colour in favour of
lush, high contrast black-and-white images, on the other, he replaces
the on-set audio track with a fabulously dissonant soundscape by
Catalonian modernist Carles Santos. It all adds up to a poetic alchemy
in which Portabella transforms one of Jess Franco’s lesser
efforts (and we’re fans) into one of the most beautiful movies
ever made about anything.
first word in the title of Pere Portabella's ravishing 1970 underground
masterpiece, made in Spain while General Francisco Franco was still
in power and shown clandestinely, means both 'worm's tail' and the
unexposed footage at the end of film reels. The film is a silent
black-and-white documentary about the shooting of Jesús Franco's
Count Dracula, with Christopher Lee, that becomes much more: the
high-contrast cinematography evokes deteriorating prints of Nosferatu
and Vampyr, and the extraordinary soundtrack by composer Carles
Santos intersperses the sounds of jet planes, drills, syrupy Muzak,
and sinister electronic music, all of which ingeniously locate Dracula
and our perceptions of him in the contemporary world. Moving back
and forth between Franco's film (with Dracula as an implicit stand-in
for the generalissimo) and poetic production details, Portabella
offers witty reflections on the powerful monopolies of both dictators
and commercial cinema. The only wordsheard are in English, spoken
by Lee and written by Bram Stoker." Jonathan Rosenbaum
Wednesday 10th August at 8pm
at Fabrica, 40 Duke Street, Brighton, BN1 1AG
Cemetery of Splendour
Thailand/UK/France/Germany/Malaysia | 122 minutes | 2015
latest masterpiece from visionary Thai auteur Apichatpong Weerasethakul
is, like his beguiling Palme d'Or winner 'Uncle Boonmee Who Can
Recall His Past Lives', a transfixing, enigmatic work of restrained
“magical realism” that delivers the mythical and mundane
in equal, hushed tones.
In 'Cemetery of Splendour', a unit of soldiers have succumbed to
a mysterious sleeping sickness. A young medium acts as a go between
using her psychic powers to help visiting family and friends communicate
with their comatose loved ones. As events unfold she begins to suspect
the soldiers’ enigmatic syndrome links them to an ancient
burial ground that lies beneath their makeshift clinic.
Mesmerising and gently humorous, 'Cemetery of Splendour' is a sublime
fusion of history, memory, mysticism and socio-political allegory.
10 film of 2015 for Sight & Sound, Cahiers du Cinema, and Cinema
Scope. Brighton Premiere!
Open Colour Present
Sunday 24th July at 7.30pm
at 88 London Rd, Brighton, BN1 4JF
Daisies + Artificial Paradise +
Grave on Ananas
and Cinema - intro from Miska Morning
Vera Chytilová, 1966, Czechoslovakia, 76 mins
Two young women, Marie 1 and Marie 2, deciding that the world is
irrevocably corrupt, run amok through a series of exuberant, anarchic
adventures – drinking, feasting, trashing apartments and goading
aged would-be suitors. Fifty years on, Daisies remains an amazing
explosion of absurdist humour, lurid random tinting, deep eyeliner
and proto-feminist politics. A milestone of the ‘Nová
Vlna’, Chytilová's masterpiece was banned by the Czech
authorities till 1975 for ‘depicting the wanton’.
‘A film that incites radical fantasies and exults in the
dream of a repressive social order being destroyed. It’s a
trip, a surreal manifesto, a joy to behold’ Telegraph
"One of the great outpourings of cinematic invention in
an age of over-all artistic liberation …a dazzling, bewildering
catalogue of visual effects." The New Yorker
Paradise (Chick Strand, 1986, USA,13 min) / 16mm screening
Strand is a major West Coast filmmaker whose pioneering work combines
elements of documentary, ethnographic and experimental cinema. ‘Artificial
Paradise’ is one of her boldest experiments – an ecstatic,
hypnotic visual encounter aiming to collapse the distance between
filmmaker and subject.
on Ananas (Tamara Henderson, USA/Canada 2013 3 mins) /
A full three-minute slice of gorgeously flawed pop perfection. Henderson’s
gleeful free associations and in-camera choreography sculpt a dream
landscape from signs of waking life. We’re on paradise beach
with pineapples, but still no one’s answering the phone. Thankyou
for this print.
June at 7pm
at Fabrica, 40 Duke Street, Brighton, BN1 1AG
Leaders - Book Launch and short film screening
the publication of Ian Helliwell's Tape Leaders
- A Compendium of Early British Electronic Music Composers,
this event combines a programme of short films with electronic music
soundtracks, plus a talk and discussion with several of the composers
featured in the book.
Tape Leaders is a comprehensive reference guide for anyone interested
in electronic sound and its origins in Great Britain. For the first
time details are set out on over 100 music-makers active before
1970, to reveal the untold story of early British electronic composition.
After six years of research and dozens of interviews, Helliwell
has amassed information never before brought to light in this fascinating
subject. For people interested in early analogue synthesizers and
Radiophonic Workshop era musique concrete, this volume will be essential
reading. A specially compiled 15 track CD of mainly unreleased early
electronic tracks comes with the book, copies of which will be on
Mr. Benn - The
FC Judd: Mad Motors (1974)
Ken Gray Electrosculpture extracts (1976)
Expo Parade (1958)Hazel Swift:
Shirt Factory (1963)
Stuart Wynn Jones: Short Spell (1956)
William Pye: Scrap to Sculpture (1971)
The Post Office Tower (c.1968)
with composers Laurie Scott Baker, Ron Geesin, George Newson and
Ian Helliwell, chaired by Angus Carlyle.
25th February at 7.30pm (Doors 7.20pm)
in the Friends Meeting House, Ship St, Brighton, BN1 1AF
and Her Week of Wonders
(Valerie a ty´den divu)
Jaromil Jires, 1970, Czechoslovakia, 78 mins
Based on a surrealist novel by the poet Vitezslav Nezval, ‘Valerie
and Her Week of Wonders’ is among the most beautiful oddities
of the Czech New Wave. Jires’ feverish, non-linear, gothic
fantasy follows the plight of Valerie, who on the occasion of her
entry into womanhood, finds her idyllic village transformed into
a nightmarish carnival of vampires, occult ritual, and magic. Identities
become fluid, family and friends are possessed, priests become predators,
magical jewellery could somehow hold the key…
Ravishingly shot, enchantingly scored, Jires crystallises a sense
of the mystical and captures it on celluloid - just at the moment
when Soviet state communism threatened to (and eventually did) suppress
an entire generation of provocative new directors.
'A work of both visceral immediacy and lingering allure, Valerie
and Her Week of Wonders is a uniquely influential film, one of intoxicating
sensation and unconscious immersion' Slant magazine
'It's overall effect is stunning' Time Out
+ Rare Svankmajer on 16mm: The Ossuary (Jan Svankmajer,
1970, CZ, 10 min, 16mm). A 'horror documentary' starring Sedlec's
Monastery Ossuary, which is constructed from over 50,000 human skeletons.
Svankmajer’s live action, dense collage pays homage to Czech
artist Frantisek Rint’s obsessive creations (including skull
pyramids, crosses, a monstrance and a chandelier containing every
bone of the human body). + The Last Trick (Jan
Svankmajer, CZ, 1969, 12 min, 16mm) Svankmajer’s first film,
influenced by his work at the Laterna Magika Theater, depicts an
absurd, deadly battle between two magicians
12th December at 4.30pm
NEITHER GOD NOR SANTA MARIA...AND FURTHER MYSTERIES
at the Sallis Benney Theatre
hand painted abstract visions and more in a programme of acclaimed
new artist cinema from festivals around the world. Plus archive
classics unveiling a nocturnal realm of dream logic and poetry.
And easing you into the yuletide spirit an opening sound work from
God nor Santa Maria
(Sin Dios ni Santa María)
Samuel M. Delgado & Helena Girón, 2015, Spain, 12 mins
Joseph Cornell, 1938-70, USA, 3 mins
of a Million Insects, Light of a Thousand Stars
Tomonari Nishikawa, 2014, Japan, 2 mins
Ian Hugo, 1952, USA, 9 mins
Means and Ends
Bonnie Begusch 2014, USA, 5mins
Kenneth Anger, 1953, USA, 16mm,12 mins
Analysis (2015, 4`00) + King Size Frame
Ian Helliwell, UK
Statement #2: All or Nothing
Jodie Mack, USA, 2014, 3 mins
(Meer der Dünste)
Sylvia Schedelbauer, 2014, Germany, 15:00 mins
Abstractions No. 10: Mirror Animations
Harry Smith, 1957, USA, 3:30 mins
Blood Stereo (Live performance)
Sunday November 15th
at the Sallis Benney Theatre
Part of CineCity 2015
Alan Clarke / David Rudkin UK 1974 90 mins
Introduced by writer and curator Gareth Evans
+ Soundpiece by Embla
October at 7.30pm
at The Sallis Benney Theatre
The Iron Ministry
JP Sniadecki, 2014, USA / China, 83 mins
From the Harvard Sensory Ethnography Lab, two early films from the
directors of Leviathan (2012)
Lucien Castaing-Taylor, 2010, USA, 7 mins.
Véréna Paravel, 2009, USA, 22 min.
17th September at 7.30pm
Fabrica Gallery / Duke Street / Brighton
In collaboration with Bijou Electric Empire Forever
Seashell and the Clergyman (La coquille et le clergyman)
Germaine Dulac, 1928, France, 31 mins. 16mm presentation
Early films from the French Avant-Garde
Marcel Duchamp,1926, France, 6 mins.
Le Retour a la Raison (Return To Reason)
Man Ray, France, 1923, 3 mins.
Fernand Léger / Dudley Murphy, 1924, France, 16 mins.
Brumes D'Automne (Autumn Mists)
Dimitri Kirsanoff, France, 1929, 12 mins.
1st September at 7.30pm
Fabrica Gallery / Duke Street / Brighton
In collaboration with Bijou Electric Empire Forever
The Cool World
Shirley Clarke, 1964, USA, 105 mins.
+ Bridges Go Round
Shirley Clarke, 1958, USA, 4 mins x 2