Editor
Evolution and extinction from the point of view of rocks. A humid take on minerals, where sci-fi meets sci-fact. The geo-biosphere is a place of evolutionary possibility, where humans disappear but life endures.
Director of Photography
Evolution and extinction from the point of view of rocks. A humid take on minerals, where sci-fi meets sci-fact. The geo-biosphere is a place of evolutionary possibility, where humans disappear but life endures.
Producer
Evolution and extinction from the point of view of rocks. A humid take on minerals, where sci-fi meets sci-fact. The geo-biosphere is a place of evolutionary possibility, where humans disappear but life endures.
Writer
Evolution and extinction from the point of view of rocks. A humid take on minerals, where sci-fi meets sci-fact. The geo-biosphere is a place of evolutionary possibility, where humans disappear but life endures.
Director
Evolution and extinction from the point of view of rocks. A humid take on minerals, where sci-fi meets sci-fact. The geo-biosphere is a place of evolutionary possibility, where humans disappear but life endures.
Music
A video letter to Nancy Holt, made in homage to a shared interest in terminal lakes, framed views, monuments and time. Filmed on and around the Great Salt Lake, Mono Lake and Meteor Crater.
Editor
A video letter to Nancy Holt, made in homage to a shared interest in terminal lakes, framed views, monuments and time. Filmed on and around the Great Salt Lake, Mono Lake and Meteor Crater.
Cinematography
A video letter to Nancy Holt, made in homage to a shared interest in terminal lakes, framed views, monuments and time. Filmed on and around the Great Salt Lake, Mono Lake and Meteor Crater.
Director
A video letter to Nancy Holt, made in homage to a shared interest in terminal lakes, framed views, monuments and time. Filmed on and around the Great Salt Lake, Mono Lake and Meteor Crater.
Director
Some forms we can only know by their shadow. In homage to the spirits of space test dogs, or any being we use in the name of progress.
Sound
Uma ligação intergeracional de três cineastas: Vever surgiu a partir dos projetos cinematográficos abandonados de Maya Deren e Barbara Hammer. Filmado durante uma viagem de Hammer à Guatemala em 1975 e complementado com as reflexões de Deren sobre o fracasso no Haiti dos anos 1950.
Producer
Uma ligação intergeracional de três cineastas: Vever surgiu a partir dos projetos cinematográficos abandonados de Maya Deren e Barbara Hammer. Filmado durante uma viagem de Hammer à Guatemala em 1975 e complementado com as reflexões de Deren sobre o fracasso no Haiti dos anos 1950.
Editor
Uma ligação intergeracional de três cineastas: Vever surgiu a partir dos projetos cinematográficos abandonados de Maya Deren e Barbara Hammer. Filmado durante uma viagem de Hammer à Guatemala em 1975 e complementado com as reflexões de Deren sobre o fracasso no Haiti dos anos 1950.
Director
Uma ligação intergeracional de três cineastas: Vever surgiu a partir dos projetos cinematográficos abandonados de Maya Deren e Barbara Hammer. Filmado durante uma viagem de Hammer à Guatemala em 1975 e complementado com as reflexões de Deren sobre o fracasso no Haiti dos anos 1950.
Director of Photography
The urge to relieve a winter valley of permanent shadow and find gold in alluvial gravel is part of a long history of desire and extraction in the far Canadian north. Cancan dancers, curlers, smelters, former city officials, and a curious cliff-side mirrored disc congregate to form a town portrait. Shot on location in Dawson City, Yukon Territory.
Writer
The urge to relieve a winter valley of permanent shadow and find gold in alluvial gravel is part of a long history of desire and extraction in the far Canadian north. Cancan dancers, curlers, smelters, former city officials, and a curious cliff-side mirrored disc congregate to form a town portrait. Shot on location in Dawson City, Yukon Territory.
Sound Designer
The urge to relieve a winter valley of permanent shadow and find gold in alluvial gravel is part of a long history of desire and extraction in the far Canadian north. Cancan dancers, curlers, smelters, former city officials, and a curious cliff-side mirrored disc congregate to form a town portrait. Shot on location in Dawson City, Yukon Territory.
Editor
The urge to relieve a winter valley of permanent shadow and find gold in alluvial gravel is part of a long history of desire and extraction in the far Canadian north. Cancan dancers, curlers, smelters, former city officials, and a curious cliff-side mirrored disc congregate to form a town portrait. Shot on location in Dawson City, Yukon Territory.
Camera Operator
The urge to relieve a winter valley of permanent shadow and find gold in alluvial gravel is part of a long history of desire and extraction in the far Canadian north. Cancan dancers, curlers, smelters, former city officials, and a curious cliff-side mirrored disc congregate to form a town portrait. Shot on location in Dawson City, Yukon Territory.
Sound Recordist
The urge to relieve a winter valley of permanent shadow and find gold in alluvial gravel is part of a long history of desire and extraction in the far Canadian north. Cancan dancers, curlers, smelters, former city officials, and a curious cliff-side mirrored disc congregate to form a town portrait. Shot on location in Dawson City, Yukon Territory.
Director
The urge to relieve a winter valley of permanent shadow and find gold in alluvial gravel is part of a long history of desire and extraction in the far Canadian north. Cancan dancers, curlers, smelters, former city officials, and a curious cliff-side mirrored disc congregate to form a town portrait. Shot on location in Dawson City, Yukon Territory.
Director
The Greek island of Syros is visited by a series of unexpected guests. Immutable forms, outside of time, aloof observants to human conditions.
Sound Designer
From dreamy aerial opening shots, we are sent on an expedition through the storied land of our fifth most populous state, Illinois, often called a miniature version of America. Deborah Stratman’s experimental documentary explores how physical landscapes and human politics can each re-interpret historical events. Eleven parables relay histories of settlement, removal, technological breakthrough, violence, messianism, and resistance. Who gets to write history—physical monuments, official news accounts, or personal spoken-word memories?
Editor
From dreamy aerial opening shots, we are sent on an expedition through the storied land of our fifth most populous state, Illinois, often called a miniature version of America. Deborah Stratman’s experimental documentary explores how physical landscapes and human politics can each re-interpret historical events. Eleven parables relay histories of settlement, removal, technological breakthrough, violence, messianism, and resistance. Who gets to write history—physical monuments, official news accounts, or personal spoken-word memories?
Cinematography
From dreamy aerial opening shots, we are sent on an expedition through the storied land of our fifth most populous state, Illinois, often called a miniature version of America. Deborah Stratman’s experimental documentary explores how physical landscapes and human politics can each re-interpret historical events. Eleven parables relay histories of settlement, removal, technological breakthrough, violence, messianism, and resistance. Who gets to write history—physical monuments, official news accounts, or personal spoken-word memories?
Producer
From dreamy aerial opening shots, we are sent on an expedition through the storied land of our fifth most populous state, Illinois, often called a miniature version of America. Deborah Stratman’s experimental documentary explores how physical landscapes and human politics can each re-interpret historical events. Eleven parables relay histories of settlement, removal, technological breakthrough, violence, messianism, and resistance. Who gets to write history—physical monuments, official news accounts, or personal spoken-word memories?
Screenplay
From dreamy aerial opening shots, we are sent on an expedition through the storied land of our fifth most populous state, Illinois, often called a miniature version of America. Deborah Stratman’s experimental documentary explores how physical landscapes and human politics can each re-interpret historical events. Eleven parables relay histories of settlement, removal, technological breakthrough, violence, messianism, and resistance. Who gets to write history—physical monuments, official news accounts, or personal spoken-word memories?
Director
From dreamy aerial opening shots, we are sent on an expedition through the storied land of our fifth most populous state, Illinois, often called a miniature version of America. Deborah Stratman’s experimental documentary explores how physical landscapes and human politics can each re-interpret historical events. Eleven parables relay histories of settlement, removal, technological breakthrough, violence, messianism, and resistance. Who gets to write history—physical monuments, official news accounts, or personal spoken-word memories?
Editor
Obscure signs portend a looming, indecipherable slump. An oracular decoding of the landscape.
Director
Obscure signs portend a looming, indecipherable slump. An oracular decoding of the landscape.
Sound Designer
A single-shot portrait of the Foley process, revealing multiple layers of fabrication and imposition, which is dedicated to Walter Murch and "Ed Snowden."
Writer
A single-shot portrait of the Foley process, revealing multiple layers of fabrication and imposition, which is dedicated to Walter Murch and "Ed Snowden."
Director
A single-shot portrait of the Foley process, revealing multiple layers of fabrication and imposition, which is dedicated to Walter Murch and "Ed Snowden."
Sound Designer
The idea of suspension is evoked on shifting registers – as levitation, cessation, preservation, and suspense – and located in sites whose identities slip as we track through a space within a space.
Editor
The idea of suspension is evoked on shifting registers – as levitation, cessation, preservation, and suspense – and located in sites whose identities slip as we track through a space within a space.
Director of Photography
The idea of suspension is evoked on shifting registers – as levitation, cessation, preservation, and suspense – and located in sites whose identities slip as we track through a space within a space.
Director
The idea of suspension is evoked on shifting registers – as levitation, cessation, preservation, and suspense – and located in sites whose identities slip as we track through a space within a space.
Director
Film time takes on book time. An homage to a Bette J. Davis' illustrated text, itself an homage to the small music makers of the insect world.
Director
A re-working of Humphrey Jennings' seminal 36-minute 1943 docudrama "The Silent Village," wherein Welsh coal miners from the village of Cwmgiedd collectively re-enact the Nazi invasion and annihilation of the resisting Czech mining village of Lidice. Focus in this iteration is on sound as a mode of social control and the larger historical implications of repetition. An homage to Jennings’ lucid address of labor solidarity, power and commemoration.
Director
Since comets have been recorded, they’ve augured disaster: catastrophe, messiahs, upheaval and end times. A short film about these meteoric ice-cored fireballs and their historic ties to divination that combines imagery of 15th-18th century European broadsides with NASA Jet Propulsion Laboratory footage. …These Blazeing Starrs! juxtaposes a modern empirical desire to probe and measure against older methods, when star gazers were translators, explicating the sky more intuitively for predictions of human folly. Comets are now understood as time capsules harboring elemental information about the formation of our solar system. Today we smash rockets into them to read spectral signatures. In a sense, they remain oracles - it’s just the manner of divining which has changed.
Sound Designer
In support of experiences that are essentially common, but to which language does not easily adhere, the video passes through places that are both themselves, and stand-ins for others. The title is taken from Aleister Crowley’s 1918 translation of the "Tao Te Ching."
Editor
In support of experiences that are essentially common, but to which language does not easily adhere, the video passes through places that are both themselves, and stand-ins for others. The title is taken from Aleister Crowley’s 1918 translation of the "Tao Te Ching."
Director of Photography
In support of experiences that are essentially common, but to which language does not easily adhere, the video passes through places that are both themselves, and stand-ins for others. The title is taken from Aleister Crowley’s 1918 translation of the "Tao Te Ching."
Director
In support of experiences that are essentially common, but to which language does not easily adhere, the video passes through places that are both themselves, and stand-ins for others. The title is taken from Aleister Crowley’s 1918 translation of the "Tao Te Ching."
Director
A flicker film made with images taken in Malawi.
FF was in response to an assignment given by artists Melissa Dubbin and Aaron Davidson who created the soundtrack to which they invited artists to make a “Future Film”.
Sound Designer
An homage to Chicago’s East 95th Street Bridge, Calumet Fisheries and to a couple of the city’s infamous cinematic brothers.
Editor
An homage to Chicago’s East 95th Street Bridge, Calumet Fisheries and to a couple of the city’s infamous cinematic brothers.
Director of Photography
An homage to Chicago’s East 95th Street Bridge, Calumet Fisheries and to a couple of the city’s infamous cinematic brothers.
Director
An homage to Chicago’s East 95th Street Bridge, Calumet Fisheries and to a couple of the city’s infamous cinematic brothers.
Writer
Ray Lowden keeps seventy-two large birds of prey, five deer and some wallabies at his place in Northumberland, England. He has had ten days off in twelve years and loves what he does. The film is a little homage to his variously coy, imperious, curious, stubborn and comic raptor menagerie.
Director of Photography
Ray Lowden keeps seventy-two large birds of prey, five deer and some wallabies at his place in Northumberland, England. He has had ten days off in twelve years and loves what he does. The film is a little homage to his variously coy, imperious, curious, stubborn and comic raptor menagerie.
Sound Editor
Ray Lowden keeps seventy-two large birds of prey, five deer and some wallabies at his place in Northumberland, England. He has had ten days off in twelve years and loves what he does. The film is a little homage to his variously coy, imperious, curious, stubborn and comic raptor menagerie.
Editor
Ray Lowden keeps seventy-two large birds of prey, five deer and some wallabies at his place in Northumberland, England. He has had ten days off in twelve years and loves what he does. The film is a little homage to his variously coy, imperious, curious, stubborn and comic raptor menagerie.
Producer
Ray Lowden keeps seventy-two large birds of prey, five deer and some wallabies at his place in Northumberland, England. He has had ten days off in twelve years and loves what he does. The film is a little homage to his variously coy, imperious, curious, stubborn and comic raptor menagerie.
Director
Ray Lowden keeps seventy-two large birds of prey, five deer and some wallabies at his place in Northumberland, England. He has had ten days off in twelve years and loves what he does. The film is a little homage to his variously coy, imperious, curious, stubborn and comic raptor menagerie.
Director
Relatively little export, cultural or otherwise, reaches the west from southeastern Africa. Spurred by curiosity about how knowledge of place spreads, Kuyenda N’kubvina looks at how thought and culture propagate in Malawi. Weaving our way through video halls, book stores, radio stations and dance floors, in cities and small villages, we meet Malawians who traffic in rhythm and ideas. The video was instigated by the filmmaker’s ignorance about the people and culture of this region, and accompanies her as she seeks out individuals and infrastructures that channel and articulate Malawian identity.
Screenplay
A meditation on freedom and technological approaches to manifest destiny.
Director
A meditation on freedom and technological approaches to manifest destiny.
Director
Both a letter to a cancer stricken, alchemist-filmmaker friend, and a quiet tribute to the vanishing art of celluloid, "The Magician's House" is full of ghosts. Including that of Athanasius Kircher, inventor of the Magic Lantern or "Sorcerer’s Lamp". The music, La lutte des Mages (The Struggle of the Magicians), was composed by Armenian mystic Georges Gurdjieff and Thomas De Hartmann. Gurdjieff thought of man as a kind of "transmitting station of forces." To him, most people move around in a state of waking sleep, so he sought to provide aural conditions that would induce awareness.
Director
A short inquisition of science by the paranormal. On-screen texts are lifted from Tarkovsky's film "Stalker" in which something more expansive and less explicable than logic or technology is offered as the conceptual pillar of the human spirit. The title is taken from a passage in Dostoyevsky's "The Possessed" about time after the Apocalpyse: "Kirillov: When the whole of man has achieved happiness, there won't be any time, because it won't be needed. It's perfectly true. Stavrogin: Where will they put it then? Kirillov: They won't put it anywhere. Time isn't a thing, it's an idea. It will die out in the mind."
Director
Inspired by a chapter in Francois Rabelais' 1653 epic novel "Gargantua & Pantagruel" wherein Pantagruel finds that the explosions, cries and other sounds generated from a battle that had occurred the year before have been frozen into discernable shapes - and that the sounds could be released upon the breaking or melting of the frozen forms.
Director
Adil Hoxur, descended from a line of Dawaz tightrope artists, performs nightly with his troupe in China’s Taklamakan desert, among the Uyghurs, a Turkic Muslim people seeking religious and political autonomy. Shot over four months, this experimental documentary takes shape as a travelogue, ethnographic visual poem, and advocacy video for the preservation of a traditional art form. - MoMA
Director of Photography
From its distinctive neighborhoods to its architectural homes, Los Angeles has been the backdrop to countless movies. In this dazzling work, Andersen takes viewers on a whirlwind tour through the metropolis' real and cinematic history, investigating the myriad stories and legends that have come to define it, and meticulously, judiciously revealing the real city that lives beneath.
Sound Designer
A night flight through hysteria and police surveillance in suburban America.
Editor
A night flight through hysteria and police surveillance in suburban America.
Director of Photography
A night flight through hysteria and police surveillance in suburban America.
Director
A night flight through hysteria and police surveillance in suburban America.
Director
A small portrait of the volatility of intimacy and of breaking free from abusive cycles: made in response to a year of collapsing relationships and violent accidents that left me broken, dislocated and stuck in my apartment.
Editor
An experimental documentary about the street drag racing scene on Chicago’s Near West Side. This is a rambling, textured film about obsession. It is about the mythos of speed for its own sake, and it is about waiting. While waiting, The BLVD exposes community, inner-city landscapes and nomadic experiences of place. The film treats storytelling as a living medium for determining history. And it commands respect for those who transform cars, or anything else, through passion.
Cinematography
An experimental documentary about the street drag racing scene on Chicago’s Near West Side. This is a rambling, textured film about obsession. It is about the mythos of speed for its own sake, and it is about waiting. While waiting, The BLVD exposes community, inner-city landscapes and nomadic experiences of place. The film treats storytelling as a living medium for determining history. And it commands respect for those who transform cars, or anything else, through passion.
Writer
An experimental documentary about the street drag racing scene on Chicago’s Near West Side. This is a rambling, textured film about obsession. It is about the mythos of speed for its own sake, and it is about waiting. While waiting, The BLVD exposes community, inner-city landscapes and nomadic experiences of place. The film treats storytelling as a living medium for determining history. And it commands respect for those who transform cars, or anything else, through passion.
Director
An experimental documentary about the street drag racing scene on Chicago’s Near West Side. This is a rambling, textured film about obsession. It is about the mythos of speed for its own sake, and it is about waiting. While waiting, The BLVD exposes community, inner-city landscapes and nomadic experiences of place. The film treats storytelling as a living medium for determining history. And it commands respect for those who transform cars, or anything else, through passion.
Director
Images of the austere Icelandic landscape form the backdrop for readings from a series of letters written at the turn of the 20th century. Majestic waterfalls, open plains, a ship loaded with protesting sheep, a boat in icy waters, snow capped peaks, and icy roadways are punctuated with Hetty’s ironic stories of quotidian events with her female companions. Her accounts are juxtaposed against historic texts about the Icelandic people overcoming the cataclysmic forces of nature. - MoMA
Director
Susuratti is an installation by Deborah Stratman and Rob Ray. Susuratti is part of Experimental Sound Studio's Florasonic series in the fern room at the Lincoln Park Conservatory in Chicago, IL.
Director
Director
