The Collectif Jeune Cinéma calls for media-based works from LGBTIQ (Lesbian, Gay, Bi, Trans, Intersex and Queer) filmmakers. Created, among other purposes, to defend non-standard aesthetics, politically engaged films and different sexual representations within moving image practices, the Collectif Jeune Cinéma seeks to enrich its catalog of contemporary works to give continuity to its history.

The works we seek are not limited to the themes of gender and sexuality ; this call concerns all filmmakers who invoke and/or defy these identities in demand of a fresh and original view of the world and that seek a unique language through formal, narrative and poetic experimentation.

In her poem The Breast Anne Sexton ends with the line, “I burn the way money burns,” suggesting the complex and contradictory nature of female desire and its structurally dictated dual role—as lover but also care-giver and mother. These five films selected from LUX and Cinenova collections (1978-1994) not only confront this dual nature of women’s work. Through formal experimentation of both sound and image tracks, they also envision what Susan Stein describes in She Said as the “geometry of creeping lines” that inscribe the social relation of reproduction onto space itself.

Henry Hills has been making short, intensely rhythmic experimental films since 1975. Primarily New York-based (where he frequently collaborates with composer John Zorn, choreographer Sally Silvers, and poet Charles Bernstein), he has been living half-time in Vienna since 2008, teaches at FAMU in Prague and was a Guggenheim Fellow in 2009.

This programme, curated by seminal Irish filmmaker Vivienne Dick, represents many highlights from Hills’ career, and has been similarly presented in recent months at the Austrian Film Museum, REDCAT in L.A. and Media City in Windsor, Ontario. His work, which seeks abstraction within sharply focused naturalistic imagery and the ethereal within the mundane, promotes an active attentiveness through a relentlessly concentrated montage.