Thursday, November 9 at 6:00pm
The Capitol Theatre, 121 University Ave. W, Windsor
Pay What You Like

Films by: Tomonari Nishikawa / Ben Rivers & Céline Condorelli / Skip Norman / Friedl vom Gröller (Kubelka) / Helena Girón & Samuel M. Delgado / Pablo Mazzolo / Sky Hopinka


Light, Noise, Smoke, and Light, Noise, Smoke (2023)

Tomonari Nishikawa

Light, Noise, Smoke, and Light, Noise, Smoke, Tomonari Nishikawa, Japan, 16mm, 6 min, 2023

Fireworks were shot at a summer festival in Japan with a Super 16 format camera, obtaining 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. The footage from two 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.

Image credits: unless otherwise noted all artworks, portraits and stills courtesy of the artist © Tomonari Nishikawa

About Tomonari Nishikawa

Tomonari Nishikawa (1969). 15+ films and projection performances since 2009; screenings at venues including Hong Kong International Film Festival, Media City Film Festival, Berlinale, New York Film Festival, MoMA PS1, and Toronto International Film Festival. Co-founder of KLEX: Kuala Lumpur Experimental Film, Video & Music Festival. Lives in Vestal, New York and Tokyo, Japan.

After Work (2022)

Ben Rivers and Céline Condorelli

After Work, Ben Rivers and Céline Condorelli, England/Italy, 16mm > digital, 13 min, 2022

The film opens with a well-known British nursery rhyme, “Boys and Girls Come Out to Play.” It ends with a call, whispered in the ear at bedtime, to go and play and see what is going on in the street. This is precisely what Ben Rivers and Céline Condorelli suggest in After Work, the latter having been commissioned to design a playground in a working-class area of South London. On screen, we discover how it’s made—digging the earth, preparing the ground, welding, polishing. This is suggested through touches, captured by a camera playing with colours and overlaying, focused on the smallest snatches of gestures at work—a whole process splintered by an erratic chronology. The film is a focus of encounters, sometimes discordant, between worlds, between the poem and images, between work and play, the city and the animals, the adult world and the child’s world.—Nicolas Feodoroff


Poem by Jay Bernard.

Image credits: unless otherwise noted all artworks, portraits and stills courtesy of the artists © Ben Rivers and Céline Condorelli.

About Ben Rivers

Ben Rivers (1972). 40+ films since 2003; solo screenings at venues including Courtisane Festival, London Film Festival, Karlovy Vary Film Festival, and Harvard Film Archive. FIPRESCI Prize from Venice International Film Festival (2011); MCFF Chrysalis Fellow (2020). Lives in London, England.

About Céline Condorelli

Céline Condorelli (1974). Artistic practice between installation, architecture, and public works; presentations at venues including Serpentine Gallery, Tate Modern, and IASPIS Stockholm. 15+ artists’ books since 2007. Founder of Eastside Projects artists’ space in Birmingham, England. Lives in London, England and Milan, Italy.

Cultural Nationalism (1969)

Skip Norman

Cultural Nationalism, Skip Norman, USA/Germany, 16mm > digital, 11 min, 1969

Black Power on a snowy meadow in West Berlin. Speech by Bobby Seale, co-founder of the Black Panther Party. 

Image credits: unless otherwise noted all artworks, portraits and stills courtesy of Deutsche Kinemathek © estate of Skip Norman.

About Skip Norman

Skip Norman (1933–2015). Filmmaker, photographer, and cinematographer originally from Baltimore, Maryland; relocated to Germany in the 1960s where he made numerous films of his own or in collaboration with artists including Harun Farocki, Holger Meins, and Helke Sander; continued working as cinematographer on projects by Haile Gerima, Nikki Giovanni, and others upon returning to the USA. Retrospective of his films organized by Open City Documentary Festival in 2023.

Drowned (2022)

Friedl vom Gröller (Kubelka)

Drowned, Friedl vom Gröller (Kubelka), Austria, 16mm, 3 min, 2022

“Als sie ertrunken war und hinunter schwamm / Von den Bächen in die größeren Flüsse [Once she had drowned and started her slow descent / Down the streams to where the great rivers broaden].” In her touching, untrained voice, the filmmaker sings this Brecht/Weill song from the 1920s. No atmosphere; this song is happening in a different space. Plants on the shore, swayed by flowing water … What connection, what dialogue materializes here during the filming, what acts of self-assurance, shared rhythm; what solution? … To speak of transience would be euphemistic. The (un)touchable unity of the body, inside and out. Materially and metaphysically.—Madeleine Bernstorff

Image credits: unless otherwise noted all artworks, portraits and stills courtesy of the artist and Sixpack Film © Friedl vom Gröller (Kubelka).

About Friedl vom Gröller

Friedl vom Gröller (Kubelka) (1946). Works in photography and film; 80+ films since 1968; screenings at venues including Centre Pompidou, Tate Modern, and documenta 12. Grand Austrian State Prize for Artistic Photography (2005) and Austrian Art Prize for Film (2016). Founder of Friedl Kubelka School for Artistic Photography (1990) and Friedl Kubelka School for Independent Film (2006). MCFF presented the artist’s first dual photography and film retrospective (2010). Lives in Vienna, Austria.

Bloom (2023)

Helena Girón and Samuel M. Delgado

Bloom, Helena Girón and Samuel M. Delgado, Spain, 16mm > digital, 18 min, 2023

The mythical Isla de San Borondón (St. Brendan’s Isle) appears and disappears. Throughout history it has been placed near the Canary Islands on maps. The legend of the island of San Borondón became so pervasive that expeditions were organized to discover and conquer it for three hundred years. After centuries of oblivion, it has finally been found.

Image credits: unless otherwise noted all artworks, portraits and stills courtesy of the artist and Sixpack Film © Friedl vom Gröller (Kubelka).

About Helena Girón and Samuel M. Delgado

Helena Girón (1988) and Samuel M. Delgado (1987). 10+ films in collaboration since 2015; screenings at venues including Toronto International Film Festival, Locarno Film Festival, New York Film Festival, and Media City Film Festival. Curators of Sensitive Material in the Canary Islands (2021), including films by Guy Sherwin, Peter Hutton, Ana Vaz, and others. Live in Madrid and Santa Cruz de Tenerife, Spain.

The Newest Olds (2022)

Pablo Mazzolo

The Newest Olds, Pablo Mazzolo, Argentina, 35mm, 15 min, 2022

The Newest Olds is the second installment in Argentinian filmmaker Pablo Mazzolo’s cinematic diptych exploring the natural and urban environment within and surrounding the border region of Windsor–Detroit. Completed seven years after the release of Fish Point (2015), Mazzolo’s revelatory study of light and landscape that animated the deciduous forest harbours and rare ecosystem at the southeastern tip of Pelee Island, The Newest Olds transforms Detroit’s iconic cityscapes, dislodging buildings from their foundations and collapsing the physical, political, and sensory boundaries between Canada and the United States through alchemical, in-camera, and optical printing techniques.

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

About Pablo Mazzolo

Pablo Mazzolo (1976). 10+ films since 2010; screenings at venues including New York Film Festival, Museo Nacional Centro de Arte Reina Sofía, Cinéma du réel, Anthology Film Archives, Mar del Plata International Film Festival, San Francisco Cinematheque, Media City Film Festival, Museo de Arte Latinoamericano de Buenos Aires, and (S8) Mostra de Cinema Periférico. MCFF Grand Prize (2013); MCFF Chrysalis Fellowship (2022). Lives in Buenos Aires, Argentina.

Kicking the Clouds (2021)

Sky Hopinka

Kicking the Clouds, Sky Hopinka, Ho-Chunk / Pechanga Band of Luiseño, 16mm > digital, 15 min, 2021

This film is a reflection on descendants and ancestors, guided by a 50-year-old audio recording of my grandmother learning the Pechanga language from her mother. After being given this tape by my mother, I interviewed her and asked about it, and recorded her ruminations on their lives and her own. The footage is of our chosen home in Whatcom County, Washington, where my family still lives, far from our homelands in Southern California, yet a home nonetheless.

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

About Sky Hopinka

Sky Hopinka (1984). 20+ films and multi-channel media artworks since 2014; screenings at venues including Sundance Film Festival, Toronto International Film Festival, New York Film Festival, and Whitney Biennial (2017). Guest curator at Whitney Biennial (2019). Films in permanent collections of The Museum of Modern Art and Whitney Museum of American Art. MCFF Chrysalis Fellowship (2020), Herb Alpert Award (2020), Guggenheim Fellowship (2020), MacArthur Fellowship (2022). Lives in upstate New York.

Program Partners

This program is co-presented with Grasshopper Film, Common Ground Gallery, and Sixpack Film.