Deedee Halleck

Documentary about the strained relations that Latin America has with the United States. Halleck says at the beginning that the images of Latin America she saw in Hollywood films didn't match the reality she knew growing up in Cuba. She then uses footage of old Hollywood films, newsreels and corporate advertising films to show that, even in the early 20th century, these problematic relations between Latin America and the US were well known to Americans, even if they didn't want to recognize them.

Documentary about the strained relations that Latin America has with the United States. Halleck says at the beginning that the images of Latin America she saw in Hollywood films didn't match the reality she knew growing up in Cuba. She then uses footage of old Hollywood films, newsreels and corporate advertising films to show that, even in the early 20th century, these problematic relations between Latin America and the US were well known to Americans, even if they didn't want to recognize them.

Documentary about the strained relations that Latin America has with the United States. Halleck says at the beginning that the images of Latin America she saw in Hollywood films didn't match the reality she knew growing up in Cuba. She then uses footage of old Hollywood films, newsreels and corporate advertising films to show that, even in the early 20th century, these problematic relations between Latin America and the US were well known to Americans, even if they didn't want to recognize them.

Documentary about the strained relations that Latin America has with the United States. Halleck says at the beginning that the images of Latin America she saw in Hollywood films didn't match the reality she knew growing up in Cuba. She then uses footage of old Hollywood films, newsreels and corporate advertising films to show that, even in the early 20th century, these problematic relations between Latin America and the US were well known to Americans, even if they didn't want to recognize them.

A pentacostal baptism service at a large church (former movie theater) in the South Bronx, shot 1977, edited 1979. Begun as a landscape film about the destruction of the Bronx in the 1970s. Camera: Richard Serra, DeeDee Halleck, and Babette Mangolte, Jane Warrenbrand, Stuart Math, and Ted Glass.

This key work of the late 1970s, now digitally restored, is a unique attempt to combine contemporary debates around formalism, feminism and psychoanalysis in film. Implicitly engaged in a critical dialogue with filmmakers like Yvonne Rainer and Jean-Luc Godard, as well as the theorists of 'Screen' magazine, Sigmund Freud's Dora is a milestone in the evolution of structuralist film strategies into broader questions of representation.

A performance by Margo Lee Sherman, Christian DuPavillon, and Kenny Eisenstat based on a dream that Elka Schumann had about the French Revolution. Originally filmed in 16mm in Glover Vermont. Direction by Peter Schumann. The digital version was edited by DeeDee Halleck and Mary Feaster in 2019.

This is documentation of a workshop held at the Lillian Wald Recreation Rooms and Settlement. It shows two filmmaking projects by youth. This film was shown at a UNESCO conference in 1962 in Oslo, Norway and was commended for being the "most spontaneous" and "drawing the most applause" by Jonas Mekas in a review in the Village Voice.

A portrait of an 88-year-old neighbor who canes chairs and ruminates on women and morality.