EYE:AM presents Women's Night as part of NEW FILMMAKERS
MIRROR MOVES for PRIVATE EYES; Alice Cohen: Animation & Soundtrack (composer, performer, producer using
analogue synthesizer and voice); 13.42; digi
Animation exploring the idea of the Mirror as a psychic receptor; a magical portal to visionary and ecstatic states, thru
self-reflection and visualization. The ritual use of beauty tools such as make-up, hair brushes, perfume, and other trans-
formative implements, are infused with a symbolic charge. Spaces of movie theaters with lit-up marquees, and boudoirs
with mysterious dressing tables, act as portals as well - power sites where time is fluid, and past and future co-exist.
Auras of glamour, artifice and fantasy are used in a hypnotic, meditative way, creating pathways towards transcendence
and personal gnosis.
PURSUIT; Ariane Loze; 7.00; Digi
Loze is the director, camerawoman, scenarist, editor and plays all the actors parts. The edit constructs a relation-ship
between different characters and the architecture that surrounds them. By reducing the means to a minimum, one act-
ress and a camera, the spectator has to use their imagination to construct the story and to over-come the artificiality of
this recomposed image of reality.
STANDSTILL; Angeliki Malakasioti; 8.21; Digi
This video explores the architecture of 'stillness' in its physical, notional and emotional dimensions; a lonesome point
of view - the distorted time of a pause - the lubricity of endurance -- a cordial halt between sleeping and unsleeping.
It attempts to delve into the faulty experience of an intimate standstill, its ethereal but disquieting atmosphere and the
unearthly fears inhabiting it. Alice's Red Queen was tangled in a running-to-stand-still effort to keep her present alive.
Being life-like in deep stillness can be as erroneous as the motion-and-quiescence erotic battle. One cannot but violate
the intensity of a deep pause by 'rebooting' himself and living again. All elements are underpinned by a theoretical, but
still intimate, approach of the idea of 'stillness', in its conceptual, spatial and psychological dimensions.
SACRED; Tammy A Kinsey; 16.18; digi
A digital video piece that examines the concept of Meaning in our contemporary world. Sacred explores visual
notions of reverence through natural and man-made environments, from the commercial and flashy to the organic and
sublime. Light, memory and time are components of the filmmaker’s journey. As the artist travels from West to East
geo-graphically, she moves from the colors of Hollywood to those of her ancestral home. The piece simultaneously
investigates the relationship between digital and traditional means of imaging and representation. What is sacred has
always been that which is simple and comforting, evocative of a sense of belonging- reminder of our place in the world.
CHIROS; Melanie Crean; Computer Graphics by Luba Drozd; 7.50; digi
Chiros is based on interviews with HIV+ women speaking about how their perception of time has changed since
becoming positive. There can be an urgency related to chronological time: days are governed by medication schedules
and the pursuit of goals in a race against their body. This is often punctuated by welcomed interruptions from Chiros, a
perceived suspension of time during happy occasions, as when one loses oneself in moments with friends and family.
The experimental documentary contrasts the women’s descriptions of struggle with shimmering animated compositions,
that embody not only the complexities of their personalities, but the different forms of time they are grappling with.
teNtaCles of DiMenSions; Nandita Kumar;14.00; mini DV
Tentacles of Dimensions is a journey of a brain that decides to unplug its cultural programming(or awakens to the fact
of constant programming), and purely indulges in the senses. It accepts it sexuality and duality of existence and evolves
with each painful birth. It goes through acceptance of life as it is, in its naturalness, and lives in its totality. This journey
is the unlearning of fear and prejudices, and progressing past fragmentation and the acceptance of love. It is within this
body of blood, flesh and bones is hidden that is beyond the body. In the form lives the formless; in the visible lives the
EYE:AM http://www.eyeamvideo.blogspot.com/ presents Women's Night part of NEW FILMMAKERS
June 15 @ 7:15 PM — ANOTHER EXPERIMENT by WOMEN curated by Lili White
CALL & RESPONSE; Ellen Lake; 3.30; 16mm / cell phone/digi
Vintage 16 mm film home movies from the late 1930s/early 40s combines with cell phone and
digital media today to explore ideas about the evolution of technology, the relationship between
past and present, and the perception of time and memory.
OPAL; Cara Marisa Deleon; 3.30; digi
An experimental nursery rhyme explores gender and power.
TILL THERE WAS YOU; Baba Hillman; 7.30; super8 to digi
Performers:Laura Diaz del Corral, Baba Hillman; Camera: Léna Rouxel, Fernando de Azevedo,
Baba Hillman; Music: Columb Farrelly.
I don’t know where my steps lead. But I am here through you, through my love for your eyes.
NEVER TOO LATE; Wendy Weinberg; 7.40; digi
Using images from vintage films and classic TV and replacing the soundtrack with contemporary
dialogue, "Never Too Late" tells the story of two hotel maids who have lived together in San
Francisco for 25 years. When the California courts grant same-sex couples the right to marry,
Stella and Rosie decide it’s time to tie the knot. But before they can hire a florist, Prop 8 is
Must they head east in search of equality?
ORGASMATIQUE, DRAMATIQUE, HORROR; Melissa Bruno; 2.13; digi
A performance art video that critiques the exploitation of the female face in popular body
genre films (pornography, melodrama, horror) and the role women have been burdened with in
cinematic history as the sole bearer of emotion.
DINNER FOR 4; Ariane Loze; 7.00; digi
MÔWN (Movies on my own) is a series in which Loze plays with our reflex to interpret images
and to associate them to create a coherent narrative. In these shorts, Loze plays all the parts,
and she is also the director, the camerawoman, the scenarist and the editor. The edit constructs
a relationship between 2 or more different characters and the architecture that surrounds them.
By reducing the means to a minimum, one actress and a camera, the artifices of filmmaking
become more visible and the spectator has to use his/her imagination to construct the story and
to overcome the artificiality of this recomposed image of reality—Three women sitting around a
dinner table, waiting.The atmosphere is tensed. The fourth one arrives, she will be the only one
to eat, the others will observe her. Between these four women, a silent conflict develops and the
gestures of each of them are judged by the others. Feelings of mistrust and anxiety grow. The
outcome surprises them all.
PRICKTIE; Hilda Daniel ; 0.51; digi
A nervous tic, a sinister twitch, a butterfly, beermat and desire edge inside a woolly slit of
fluttering violence. In PrickTic, pressed seduction teeters and is dragged into a covert drama
played out in non-verbal sound. The wrenching of audio clip and image from their original form
into distressed violence is echoed in the narrative.
SEGMENT; Hilda Daniel; 0.38; digi
Experimental entomology, phonology-linguistics, power, abuse and sex in 38 seconds or less.
In Segment, I have taken a small bit of archival footage (a children’s science film from the
great Prelinger Archive online) and, reprocessing sound from aged film and record, exposed an
overlooked narrative from the original film and restructured a new narrative thread which may
have broader implications.
HONEY BED; Syni Pappa; 4.08; Super 8 to digi
Honey Bed is an intimate portrayal of femininity and the act of subversion in the post modern
times of depression. The film was shot in one Super 8 film cartridge with no retakes.
MILLING THE LIGHTS; Jelena Maksimovic; 15.50; digi
Lights, bodies, movements. Love story filmed by a broken web camera.