Atomiserpresents a programme of the films of Robert E Fulton III (1939-2002), recently restored and transferred to a high definition digital master, screening in the UK for the first time.
Occurring alongside an intermission performance from Gal Go and Abi Asisa.
Synch Pulse is a monthly experimental film night happening in Brighton, assembled and presented by artist/electronic music composer/filmmaker Ian Helliwell. It features a different theme each programme represented by archive and contemporary shorts, including artists' film and video, vintage adverts and public information films, and unusual documentaries. The Synch Pulse for July will be themed around the motor car.
Ultra Dogme are excited to announce So Many Love Stories: an Ultra Dogme Movie Club Live Session.
Screening at the Zumzeig Cooperativa in Barcelona on 2 July, 7pm. It will feature 6 films of love and revolution by Nour Ouayda, Nazlı Dinçel, Craig Scheihing, Blanca García, Camille Simon Baudry & Ellie Epp and will be presented by the full Ultra Dogme team.
Tickets are €5 with all proceeds going to Amb Palestina Co-Op in solidarity with the people of Gaza.
Curated by Peter Todd, this programme is centred on two films by visionary filmmakers Gregory J. Markopoulos and Margaret Tait. Both films centre on place; interior in Bliss and exterior in Garden Pieces. It also celebrates the preservation, advocacy, and restoration necessary to continued circulation of such works. Bliss is by Markopoulos who, in the last ten years of his life, toiled over Eniaios, the ultimate reworking of his entire film oeuvre.
El programa de este mes de la sección Confesionario. Mapa de voces experimentales, comisariada por el cineasta de vanguardia Pablo Marín, estrá dedicada al largometraje 'Falling Lessonss de Amy Halpern.
Cientos de rostros que desfilan en pantalla como una cascada componen un retrato colectivo que se transforma, progresivamente, en una plataforma de despegue desde la cual Halpern ensaya una película de denuncia de otro mundo, a la vez sutil y radical, lacerante y alegre.
At the end of his 2001 video Dream Story, the celebrated U.S. experimental filmmaker Saul Levine (New Haven, Connecticut, 1943- ) recalls seeming to wake up from a dream, only to find his close collaborator Marjorie Keller (who had died in 1994) next to him: “I said to her, ‘You can't be here,’ and she said to me, ‘But I am.’ And I felt suddenly, totally relieved, and at peace.” To find Levine presenting his work in Mexico City and Oaxaca is likewise at once metaphysically incongruent, perfectly fitting, and a much sought-after occasion for peace.
