This career retrospective, combined with a filmmaker residency, offers Bay Area audiences a chance to see American avant-garde filmmaker Robert Beavers’s highly rewarding body of work and engage with him as an artist. His films are exceptional for their visual beauty, aural texture, and depth of emotional expression.
Fechas:
De Viernes, Enero 30, 2026 (Todo el día) hasta Sábado, Febrero 7, 2026 (Todo el día)
Videotage will publish D-normal/V-essay: Videotage Edition - Open Call in June 2026. From now until 6 February 2026, video creators worldwide are invited to submit their video essays.
In Another Light: Cinema of Memory is the Al Larvick Conservation Fund’s 10th anniversary screening series, marking a decade of work dedicated to preserving and sharing American home movies, amateur cinema, and community recordings originally captured on analog and obsolete formats. Drawing from the Fund’s national grant program, the series presents these films as vital cultural documents—revealing how personal filmmaking records creativity, social life, and lived experience.
9th BEAST IFF – Festival of Central & East European Film June 3 - 7 2026 Porto, Portugal
Submissions: until April 30
Entering its 9th edition, BEAST International Film Festival is returning to Porto, turning it into the centre of Central & Eastern European cinema culture through screenings, masterclasses, workshops and several industry-related events.
Calling all romantics, stoners, and formalists! We’re showing a split program dedicated to Dorsky and Hiler, two legends of avant-garde cinema known for their meticulously constructed works of abstract beauty. As partners for more than six decades, they have exerted a profound influence on one another, and so it’s no surprise that they share a number of artistic sensibilities (“polyvalent” theories of montage; sensitivity to the effects of changing seasons; a reverential approach wherein “film itself” might take on “the spirit or experience of religion”).
Two newly digitised tapes from the LCVA act as the creative catalyst for this programme that explores different modes of feminist self-representation at the Barbican Cinema.
The programme begins with two works from the London Community Video Archive (LCVA): Conversation’s Over: Liz & Pauline (c 1980) by the Basement Project and Terry Flaxton’s Circumstantial Evidence (1983) which are placed in dialogue with moving-image works by Utako Koguchi, Chick Strand, CAMP and Yace Sula. The film examines how history can be mediated through autobiography.
