INTERNATIONAL PROGRAM ONE
Wednesday, November 8 at 9:30pm Films by: Harry Smith / Rose Lowder / Luke Fowler / Tetsuya Maruyama / Amy Halpern / Siegfried Fruhauf / Alexandre Larose / Daïchi Saïto
The Capitol Theatre, 121 University Ave. W, Windsor
Pay What You Like
Wednesday, November 8 at 9:30pm
Films by: Harry Smith / Rose Lowder / Luke Fowler / Tetsuya Maruyama / Amy Halpern / Siegfried Fruhauf / Alexandre Larose / Daïchi Saïto
Film No. 11 (Mirror Animations) (1956-57)
Film No. 11 (Mirror Animations), Harry Smith, USA, 16mm, 4 min, 1956–57
Mirror Animations uses cutouts, found material, collage, and Thelonious Monk’s “Misterioso” to orbit around planets, fish, and rays of light on the path to enlightenment.
Restored by Anthology Film Archives.
Image credits: unless otherwise noted all artworks, portraits and stills courtesy of Anthology Film Archives.
About Harry Smith
Harry Smith (1923–1991). Multi-disciplinary artist, musicologist, and Gnostic bishop whose activities were central to the mid-century American avant-garde. 20+ films from 1939–1981; compiled and produced the three-volume Anthology of American Folk Music (1952); Grammy Award for Lifetime Achievement (1991). Assembled the world’s largest known collection of paper airplanes. Canonized a Saint in the Ecclesia Gnostica Catholica (2023).
Bouquets 31–40 (2015–2022)
Bouquets 31–40, Rose Lowder, France, 16mm, 11 min, 2015–2022
Colours, objects and their treatments go beyond the discourse of scientific research that the filmmaker usually tends to maintain. We cannot ignore the high sensuality of the scenes and their choices. Rose Lowder favours scenes of nature, even though some of the sites filmed are located in the city. Through their filmic transformation, they no longer appear to be urban manifestations but natural landscapes. In this way, Rose Lowder continues an impressionist tradition; working in nature rather than in the studio; like Cezanne, working on site is the sine qua non condition in order to reveal the “little sensation” and represent it.—Yann Beauvais
Image credits: unless otherwise noted all artworks, portraits and stills courtesy of the artist and Light Cone © Rose Lowder.
About Rose Lowder
Rose Lowder (1941). 50+ films since 1978; recent solo screenings at venues including Tate Modern, REDCAT, Media City Film Festival, Centre de Cultura Contemporània de Barcelona, and Cinema Project Portland. Worked as a film editor for BBC in London, England in the 1960s. Author of The Visual Aspect: Recent Canadian Experimental Film (1991) and other books. Co-founder of Archives du film expérimental d’Avignon (1981). Lives in Avignon, France.
COP26FILM, Luke Fowler, Scotland, 16mm, 7 min, 2023
COP26FILM was shot in Fowler’s home city of Glasgow during the 26th UN Climate Change Conference (COP26) in 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, cordons, and the omnipresence of police helicopters. Fowler offsets these displays of state power with a patchwork of alternative interventions that took place: mass protests, temporary squats, and the significance of the Minga Indígena, a collective of over 100 Indigenous leaders who travelled to Glasgow to claim representation and space at the conference.—Galerie Gisela Capitain
Image credits: unless otherwise noted all artworks, portraits and stills courtesy of the artist and Galerie Gisela Capitain © Luke Fowler.
About Luke Fowler
Luke Fowler (1978). 20+ films since 2001; exhibitions and screenings at venues including Whitechapel Gallery, Tate Modern, Documenta Madrid, Viennale, Courtisane Festival, Serpentine Gallery, Centre de Cultura Contemporània de Barcelona, Kunsthalle Zürich, Museo Nacional Centro de Arte Reina Sofía, Berlinale, and Austrian Film Museum. Derek Jarman Award (2008), Radcliffe Fellow (2015–16), shortlisted for Turner Prize (2012). Lives in Glasgow, Scotland.
ANTFILM, Tetsuya Maruyama, Japan/Brazil, S8mm, 3 min, 2020
How can one go against the system when one is a part of it?
Image credits: unless otherwise noted all artworks, portraits and stills courtesy of the artist © Testsuya Maruyama.
About Tetsuya Maruyama
Tetsuya Maruyama (1983). 10+ films since 2015; works in film, performance, sound and installation; screening at venues including Rio de Janeiro Museum of Modern Art, Hamburg International Short Film Festival, Ji.hlava IDFF, Alchemy Film and Moving Image Festival, Istanbul International Experimental Film Festival, Mono no Aware, and Cinemateca Uruguaya. Founder of Megalab, an artist-run film lab in Rio de Janeiro. Originally from Yokohama, Japan, currently lives in Rio de Janeiro, Brazil.
4 Fingers, 5 Toes (2022)
4 Fingers, 5 Toes, Amy Halpern, USA, 16mm, 10 min, 2022
Endangered animals on an endangered medium. A heartbeat 4/4 slow cinema, with a sex scene.
4 Fingers, 5 Toes captures images of the Eastern spotted newt and California golden newt in their natural habitats. Halpern shows the amphibians walking, swimming, and even mating, their staccato movements redolent of stop-motion animation.—Film Comment
Image credits: unless otherwise noted all artworks, portraits and stills courtesy of David Lebrun © the estate of Amy Halpern.
About Amy Halpern
Amy Halpern (1953–2022). 40+ films from 1972–2022; major retrospectives at venues including Los Angeles Film Forum, Academy Museum of Motion Pictures, and (S8) Mostra de Cinema Periférico. Co-founder of New York Collective for Living Cinema (1972–82) and Los Angeles Independent Film Oasis (1975–80). Frequent collaborator on projects with filmmakers such as Pat O’Neill, Charles Burnett, Ken Jacobs, David Lebrun, and others.
Camera Test (2022)
Camera Test, Siegfried Fruhauf, Austria, 16mm > digital, 4 min, 2022
The green leader of the 16mm film is still running, yet the rattling sound is already committed to forward movement. And indeed, it moves forward, but also back again, past hills, fir trees, and apple trees—and at some point, the gaze zooms into the seemingly passing landscape; but will also be forward again. This generates a simultaneously connecting and disturbing stroboscope effect, which generates after-images and allows the landscape to appear continuous despite obvious breaks; at the same time, the interim garish green “flash” offers glaring evidence that here we are dealing with a cinematically constructed journey rather than a “natural” one. Like the soundtrack, which is based on a staccato-style playback of ocean sounds split into stereo channels rather than a linear sound recording, the images are the cinematic synthesis of several camera pans across one and the same landscape, and not the result of a journey from A to B.—Christa Benzer
Image credits: unless otherwise noted all artworks, portraits and stills courtesy of the artist and Sixpack Film © Siegfried Fruhauf.
About Siegfried Fruhauf
Siegfried Fruhauf (1976). 35+ films since 1998; screenings at venues including Academy Museum of Motion Pictures, Media City FIlm Festival, Cannes Film Festival, Image Forum, Venice International Film Festival, Austrian Film Museum, Berlinale, Berkeley Art Museum and Pacific Film Archive, Centre Pompidou, San Francisco Cinematheque, Yale University, and Sundance Film Festival. Austrian Art Award for Film (2018). Lives in Vienna and Heiligenberg, Austria.
III., Alexandre Larose, Canada, 35mm, 12 min, 2022
In this third part of Larose’s scènes de ménage, the work with movement and in-camera overlays intensifies. Figures move towards and away from the camera, with a swiping hand or a turning head taking on a gentle, volatile quality. Larose articulates a story with different sequences in which domestic interiors alternate with exterior vegetation, in a film that seems to emerge from the depths of photochemical emulsion.—Elena Duque
Image credits: unless otherwise noted all artworks, portraits and stills courtesy of the artist © Alexandre Larose.
About Alexandre Larose
Alexandre Larose (1978). 20+ films since 2004; screenings at venues including New York Film Festival, Toronto International Film Festival, George Eastman Museum, European Media Art Festival, Media City Film Festival, 25FPS, Austrian Film Museum, VideoEx, New York Film Festival, Viennale, Anthology Film Archives, Image Forum and Metrograph. Films in permanent collection of Austrian Film Museum. Lives in Montréal, Québec.
earthearthearth, Daïchi Saïto, Japan/Canada, 35mm, 30 min, 2021
earthearthearth crystallizes into a multifaceted gem, shimmering with each light-encrusted frame. Like a constantly metamorphosing series of paintings, the film astonishes with its shifts of pigment, texture, and composition.—Ara Osterweil
It is as if we are watching a movie shot by some primeval witness to the beginning of the world.—Tony Pipolo
Watching earthearthearth, I understand why early 20th century painters had despaired when film was first invented. Once you feel colour breathe like this, a canvas never looks the same. In earthearthearth, colour is the real protagonist, nature its pale shadow. To put it plainly, there is only film.—Ela Bittencourt
Image credits: unless otherwise noted all artworks, portraits and stills courtesy of the artist © Daïchi Saïto.
About Daïchi Saïto
Daïchi Saïto (1970). 10+ films since 2003; screenings at venues including New York Film Festival, Hong Kong International Film Festival, M+ Museum, Los Angeles Film Forum, and Toronto International Film Festival. 2014 MCFF Mobile Frames Filmmaker in Residence; 2015 MCFF Underground Mines commissioned artist; MCFF Grand Prize in 2010. Co-founder of Double Negative Collective (Montréal). Lives in Montréal, Québec and upstate New York.
This program is co-presented with CJAM, Anthology Film Archives and Arts Council Windsor and Region.