Ventana al Sur: An Evening of Argentine Experimental Films at Millineum Film Workshop

Pills guardian_sleeve-300x168
Ventana al Sur: An Evening of Argentine Experimental Films

curated by Mark Street and Lynne Sachs

at Purchase Millennium Film Workshop Purchase  

Saturday November 14, 2009 8pm

66 E. 4th St. NYC This rollicking evening of challenging, expressive and oppositional Argentine cinema offers a window onto makers shredding formal niceties, relishing in risk and daring to access the sublime. From an achingly beautiful evocation of an hourglass to a darkly humorous evisceration of the tenets of the stock market, this program will take us to the land where summer is winter and winter is summer and render our souls topsy-turvy for a bit too. For the last two summers NYC experimental filmmakers Mark Street and Lynne Sachs immersed themselves in the Buenos Aires film community through a variety of collaborative cinematic endeavors. In addition to shooting Super 8 movies with their artist peers in town, Street and Sachs spent time meeting and watching the works of local moving image makers – some young firebrands and some veterans who have been expanding the parameters of the medium since the early 1960s. (88min TRT.) Buy

We will serve sweet dessert churros and other Argentine delicacies in the lobby before the show.

“Los Angeles” (5 min., 16mm, 1976) by Leandro Katz

Portrait of a small community living by the railroad tracks in the banana plantation region of Quiriguá, Guatemala. Originally a single take, this film is composed of alternating equal number of moving frames and frozen frames as the camera tracks alongside the train station.

“Workshop” (10 min.,16mm 1977) by Narcisa Hirsch

A structuralist vision as conceived by one of South America’s most beloved experimentalists, Narcisa Hirsch. One wall of the filmmaker’s studio as seen through a fixed camera. We see photos she’s stuck on the wall, then there is a dialogue with a male friend to whom she is describing the rest of the walls that you don’t see. A “one upmanship” of a similar film by Michael Snow where he describes a wall of his studio- workshop, by describing what one CAN see.

“Aleph” (1 min., 16mm) by Narcisa Hirsh

In the blink of the eye – 1440 frames in one minute – the rituals of childhood and adolescence give a magical and haunting rhythm to daily life.

“El Eroticismo del Tiempo” ( 1 min., video, 2005) by Narcisa Hirsch

Like the curves of the body, an hour glass can both seduce and repel us.

“Bajo Tierra” (4 1/2 min., Super 8, sound on CD, 2007) by Pablo Marin

A film portrait of filmmaker Claudio Caldini: in the industrial town of General Rodriguez, Buenos Aires, a man makes a new cinematic offering in front of the no-longer-industrialized Kodachrome.

“Sin título(Focus)” (4 min., Super 8, b&w, silent, 2008,) by Pablo Marin

Shot on a rooftop in Buenos Aires, this film truncates space in ever inviting ways using a dizzying array of formal tropes.

“Equivale a mentir” (3 min, Super 8 to video, sound, 2001) by Macarena Gagliardi.

A meditation on the four elements, and various aspects of fusion—a sensual evocation of the process of change.

“Espectro” (6 min, super 8 with separate sound on CD, 2008) by Sergio Subero.

Abstract images shimmer and shift on the screen. We are invited to look within as we enter an unfamiliar and unpredictable realm.

“Montevideo” (4 minutes, DVD, 2008) by Leandro Listorti

The capital of Uruguay reveals, briefly, its characteristic of a Doppelgänger City: a single place cut in two spaces where two pairs of creatures explore the limits of the travelogue.

“Stock” (5 minutes, 2007, mini DV ) by Ruben Guzman

A boy from La Cruz walks to school to read aloud the stock market report from the newspaper. We are witness to the last day of capitalism.

“El Guardian” (5 min., video, 2008) by Ruben Guzman

A fantasmic guardian coddles and keeps the images of the world.

“Nunca Fuimos Allah Luna” (7 min., 35mm, 2008) by Ernesto Baca

Two characters on split screens collide, converse and argue as the city unspools kinetically behind them.

“For You/Para Usted” (16 minutes, video, 1999) by Liliana Porter

A witty and wry comparison of linguistic and visual modes of expression through a series of pithy and provocative animated vignettes.

“Jardin” (2 minutes, video, 2004) by Enrique Bernacchini

A stop motion funhouse ride of dynamic images and shattering sounds—all out in the garden. The ebb and flow of domestic life yields its own particular texture.

“VHS” (10 min. excerpt) by Diego Trerotola

“ If gender is technology (as feminists teach us), then queer identity is an infected machine. VHS (VideoHomoSexual) is a smash-up of trailers and institutional clips where the trashy texture of videotapes, corrupted by the queer-techno-eye, exhibits the camp desire and its degradation.”

“Mirarte a lo lejos” ‘From Afar, I See You’ (10m, 16mm on video,, 2009) by Tomas Rautenstrauch

‘This movie is intended as a thank-you-note to Narcisa Hirsch. My grandmother was the one who pushed me into the arts. She did it not with words nor with an attitude. Silence was her tool, and I needed to learn how to use it. “

contact: [email protected] or [email protected]