Saturday, November 11 at 9:30pm
The Capitol Theatre, 121 University Ave. W, Windsor
Pay What You Like

Films by: Jeannette Ehlers / Kevin Jerome Everson / Miryam Charles / Ana Vaz / Abigail Child / Sarah Maldoror / Simone Leigh & Madeleine Hunt-Ehrlich

Program inspired by and conspiring with Fire Blossoms, a dossier by Yasmina Price for Three Fold Press Detroit.

Black Bullet (2012)

Jeannette Ehlers

Black Bullets, Jeannette Ehlers, Denmark, digital, 5 min, 2012

An homage to the Haitian revolution of 1791 when enslaved Africans rebelled against colonial rule. The slavery practiced by the French colonial administration is known as one of the cruellest periods of forced labour. The Haitian revolution set the scene for Haiti’s independence in 1804. In the video piece, walking human figures and their reflections are depicted against the sky on a mountain-top fort, which was built by the first Black Haitian monarch, Henri Christophe, at the start of the 19th century to defend independent Haiti against the French.—Espoo Museum of Modern Art

Image credits: unless otherwise noted all artworks, portraits and stills courtesy of the artist © Jeannette Ehlers.

About Jeannette Ehlers

Jeannette Ehlers (1973). Works in photography, video, installation, sculpture, and performance; solo exhibitions at MOCAD, Moderna Museet (Stockholm), and Kunsthal Charlottenborg; screenings at venues including Festival Caribeén de l’Image and Brooklyn Museum; Black Bullets permanently installed at Stockholm School of Economics. Creator (with La Vaughn Belle) of I Am Queen Mary (2018), the first public statue of a Black woman in Denmark. Lives in Copenhagen, Denmark.


Hough 66 (2023)

Kevin Jerome Everson

Hough 66, Kevin Jerome Everson, USA, digital, 7 min, 2023

The talented Fuego Mansa Mufasa, exhibiting the visuals of the 1966 Cleveland, Ohio uprising.

Image credits: unless otherwise noted all artworks, portraits and stills courtesy of trilobite-arts DAC and Picture Palace Pictures © Kevin Jerome Everson.

About Kevin Jerome Everson

Kevin Jerome Everson (1965). 200+ films since 1997; extensive screenings at major festivals worldwide; retrospectives at Centre Pompidou (2019), Harvard Film Archive (2018), Tate Modern (2017), Media City Film Festival, and Whitney Museum of American Art (2011). Herb Alpert Award (2012), Heinz Award in the Arts and Humanities (2019), Berlin Prize (2020). MCFF has screened more than 50 films by Everson since 2009. MCFF Mobile Frames Filmmaker-in-Residence (2014). Lives in Charlottesville, Virginia.

Song for the New World (2021)

Miryam Charles

Song for the New World, Miryam Charles, Canada, 16mm > digital, 9 min, 2021

A castle, children’s games, the waves of a small coastal village in the Caribbean, an ancient cemetery … [Charles] solicits reality to feed her imagination and translate through the power of cinema her own questions about immigration, family ties, and the feeling of belonging. Lulled by soft Creole tunes, Song for the New World is a true waking dream where the Old and the New World converge, calling for contemplation and the nostalgia of exile.—Jason Burnham

Image credits: unless otherwise noted all artworks, portraits and stills courtesy of the artist and La Distributrice de films © Miryam Charles.

About Miryam Charles

Miryam Charles (1984). 10 films since 2015; screenings at venues including Toronto International Film Festival, Locarno Film Festival, AFI FEST, Berlinale, and trinidad+tobago film festival; exhibitions at The Block Museum and University of Iowa. Films in permanent collections of Pérez Art Museum Miami and Musée d’art contemporain de Montréal. Lives in Montréal, Québec.

Pseudosphynx (2020)

Ana Vaz

Pseudosphynx, Ana Vaz, Brazil, 16mm > digital, 8 min, 2020

Pseudosphinx is the scientific name of the fire caterpillars soon to become butterflies, or as they’re commonly (and auspiciously) called: witches. Pseudosphinx is at the same time sphinx, meaning inhuman chthonic monstrosity that spells charades; and pseudo, as in artificial, insincere, deceptive, unreal, illusive, mimetic. Pseudosphynx keeps its meaning veiled, like a secret kept by those who save in their retinas the haptic impression of its fight.

Image credits: unless otherwise noted all artworks, portraits and stills courtesy of the artist © Ana Vaz.

About Ana Vaz

Ana Vaz (1986). 15+ films since 2008; screenings at venues including Tate Modern, Palais de Tokyo, Curtas Vila do Conde, Visions du Réel, and New York Film Festival. Film Society of Lincoln Center Kazuko Trust Award (2015), Grand Prize at MCFF (2015), MCFF Chrysalis Fellow (2020). Founding member of COYOTE collective, an interdisciplinary group working between ecology and political science. Originally from Brasilia, Brazil, currently lives in Lisbon, Portugal.

Prefaces (1981)

Abigail Child

Prefaces, Abigail Child, USA, 16mm, 10 min, 1981

Prefaces is composed of wild sounds structured along entropic lines, placed tensely beside bebop rhythms, and a resurfacing narrative cut from dialogue with the poet Hannah Weiner. The tracks are placed in precise and asynchronous relation to images of workers, the gestures of the marketplace, colonial Africa, and abstractions, to pose questions of social force, gender relations, and subordination.

Image credits: unless otherwise noted all artworks, portraits and stills courtesy of the artist and Canyon Cinema © Abigail Child.

About Abigail Child

Abigail Child (1948). 60+ films since 1970; films in permanent collections of institutions including Museo Nacional Centro de Arte Reina Sofía, Whitney Museum of American Art, Berkeley Art Museum and Pacific Film Archive, and Centre Pompidou. Fulbright (1993) and Guggenheim (1996) Fellowships; Rome Prize (2010). 10+ volumes of poetry since 1983. Retrospective screening at MCFF (2004). Lives in New York, New York.

And the Dogs Kept Silent (1978)

Sarah Maldoror

And the Dogs Kept Silent, Sarah Maldoror, France, 16mm > digital, 13 min, 1978

And the Dogs Kept Silent is based on recorded excerpts from the play Et les chiens se taisaient (1958) by the Martinican poet and politician Aimé Césaire (1913–2008).

The life of a man, a revolutionary, relived by him at the moment of death in the middle of a great collective disaster. His existential dialogue with his mother reverberates around the African sculptures stored at the Musée de l’Homme, the Parisian museum full of colonial plunder whose director was the Surrealist anthropologist Michel Leiris. Sarah Maldoror had been planning to stage this tragic poem since the 1950s, finally interpreted here by Gabriel Glissant and the filmmaker herself, and also integrating three spectators in their game who take the role of silent witnesses.—Sabzian

Image credits: unless otherwise noted all artworks, portraits and stills courtesy of Annouchka de Andrade © the estate of Sarah Maldoror.

About Sarah Maldoror

Sarah Maldoror (1929–2020). Co-founder (1956) of Les Griots, the first Black theatre company in France; relocated to Algeria and worked as assistant on Pontecorvo’s Battle of Algiers (1966); made 40+ films of her own from 1968–1997, including Sambizanga (1972), one of the first African films directed by a woman; screenings at venues including Cannes Film Festival and Berlinale. L’ordre national du mérite (2011). Complete retrospective of films and archival exhibition at Palais de Tokyo and Musée de l’Homme (2021).

Conspiracy (2022)

Simone Leigh and Madeleine Hunt-Ehrlich

Conspiracy, Simone Leigh and Madeleine Hunt-Ehrlich, USA, digital, 25 min, 2022

An incantation of multiple architectures of the self for Black women … This tribute to the manual labours of creation, which closes with a gesture of Black feminist arson, forms a contact zone between the respective practices of sculpture and filmmaking. The wandering hypnosis of Hunt-Ehrlich’s gorgeous black-and-white cinematography ritualizes the assertive elegance of Leigh’s craftsmanship of clay and stone … This shared composition is directed by a mesmerizing attentiveness to the haptics of sculptural labour … Leigh and Hunt-Ehrlich’s film performs an enchanting re-citation of Hands of Inge (1962), a documentary about the artist Ruth Inge Hardison. An actor and photographer, Hardison was most dedicated to her practice as a sculptor … Leigh and Hunt-Ehrlich have had a decade-long creative friendship, which makes this film an extension of an ongoing conversation that both also share with a larger constellation of Black women cultural workers.—Yasmina Price

Image credits: unless otherwise noted all artworks, portraits and stills courtesy the artists and Matthew Marks Gallery © Simone Leigh and Madeleine Hunt-Ehrlich.

About Madeleine Hunt-Ehrlich

Madeleine Hunt-Ehrlich (1987). 10+ films since 2013; screenings at venues including Tate Modern, Berlinale, Solomon R. Guggenheim Museum, Whitney Museum of American Art, Venice Biennale (2022), Bienal de São Paulo, and BlackStar Film Festival. Filmmaker Magazine’s “25 New Faces of Independent Film” (2020), Princess Grace Award (2014), Creative Capital Award (2022), Herb Alpert Award (2023). Lives in New York, New York.

About Simone Leigh

Simone Leigh (1967). Works in sculpture, video, and installation; exhibitions and screenings at venues including MoMA PS1, Kunsthalle Wien, Media City Film Festival, BlackStar Film Festival, and Whitney Biennial (2019). Hugo Boss Prize (2018). First Black woman to represent the USA at the Venice Biennale (2022), where she was awarded a Golden Lion. Lives in New York, New York.

Program Partners

This program is co-presented with Three Fold Press, Trinosophes, and Canyon Cinema.