Category Archives: Uncategorized

September 26 – Hallucinogenic California: The Alternate Worlds of Craig Baldwin and Damon Packard

Friday September 26, 2008, 8:30 pm

At the REDCAT Theater in downtown LA

Film at REDCAT presents, in collaboration with Los Angeles Filmforum
Hallucinogenic California: The Alternate Worlds of Craig Baldwin and Damon Packard
Craig Baldwin and Damon Packard in person!

Jack H. Skirball Series
Admission: $9 (students $7)

Two of California’s most notorious underground filmmakers unleash a pair of deliriously subversive visions of Los Angeles culture—past and present—as poverty-row sci-fi thrillers.

Bricolage wizard Craig Baldwin, of Tribulation 99 (1991) fame, takes his culture-jamming to a new orbit with Mock Up On Mu.  The film (showcased in the New York and Vancouver film festivals) is a frenzied collage narrative following the far-flung exploits of L. Ron Hubbard, master of the Empire of Mu (aka the moon) in the year 2019, as he schemes with and against Marjorie Cameron, Jack Parsons and Aleister Crowley to make havoc on the terrestrial homeland. Baldwin’s twisting plot uses B-movies, self-help infomercials, pulp serials, aerospace promo films and otherworldly footage shot by Baldwin to spin an allegorical yarn of subterranean cults, government secrecy, and the co-opting of utopian visions by the military.

Mock Up on Mu is preceded by Damon Packard’s SpaceDisco One (2007, 42 min). The director, writer and star of the paranoid freakout Reflections of Evil (2002), Packard (who also plays L. Ron Hubbard in Baldwin’s film) gives a frightening and hilarious depiction of Los Angeles as an Orwellian land of split realities: placid suburban routines under invisible but inextricable mind control.

Advertisements

September 14 and 21 – Best of Ann Arbor Film Festival on two nights!

On two dates in September, Filmforum is proud to present the touring program of the Ann Arbor Film Festival, which features some of the festival’s best independent, experimental and animated short films.

Program 1: September 14 at the Echo Park Film Center

Program 2: September 21 at the Egyptian Theater

September 21 – Best of Ann Arbor Film Festival, Part 2

Sunday, September 21, 2008, 7:00 pm

At the Egyptian Theater in Hollywood

Los Angeles Filmforum presents
46th Ann Arbor Film Festival Tour (Part 2)
Best of Independent, Experimental & Artistically-Inspired Short Films

The AAFF Tour is a program of many of the finest cutting-edge, creative and artfully crafted independent films from the most recent festival. Many of the films included on the tour won awards at the 46th AAFF, as well as at other notable festivals such as Rotterdam, Sundance, Slamdance, and Black Maria. The program serves as an inspired alternative to the Oscar®-nominated shorts program, which also travels across the U.S. each year.

The program opens with Chel White’s A Painful Glimpse Into My Writing Process (left), based on an unpublished satirical essay by poet Scott Poole, in which the writing process is rendered in animated images straight from the subconscious… or somewhere. Also featured are Andrew Cahill’s Spontaneous Generation (below left), a clay animation short that took the Best Animated Film award, and Thorsten Fleisch’s Energie! (below right), for which Fleisch won Best Emerging Experimental Video Artist. A full list of films can be found here.

September 14 – Best of Ann Arbor Film Festival, Part 1

Sunday, September 14, 2008, 7:00 pm

At the Echo Park Film Center
1200 Alvarado Street (at Sunset, northeast corner)

Los Angeles Filmforum presents
46th Ann Arbor Film Festival Tour (Part 1)
Best of Independent, Experimental & Artistically-Inspired Short Films

**NOTE THE CHANGE IN LOCATION**

The AAFF Tour is a program of many of the finest cutting-edge, creative and artfully crafted independent films from the most recent festival. Many of the films included on the tour won awards at the 46th AAFF, as well as at other notable festivals such as Rotterdam, Sundance,  Slamdance, and Black Maria. The program serves as an inspired alternative to the Oscar®-nominated shorts program, which also travels across the U.S. each year.

Animated masterpiece Yours Truly (left), by British filmmaker Osbert Parker, uses innovative techniques to create a funny and shocking film noir mash-up. Catherine Chalmers’s Safari (lower right) vividly brings us into the world of insects and reptiles in a way that is creepy, artfully gorgeous and beyond anything shown on National Geographic. Opening the program is Doxology (lower left), by Michael Langan, which explores reverential inspiration through cutting-edge and humorous animation techniques.

Since its inception in 1964, the AAFF tour has showcased hundreds of influential works by filmmakers such as Barbara Hammer, Gus Van Sant, Sally Cruikshank, Don Hertzfeldt, Bill Brown, Ross McLaren, Paul Winkler, James Duesing, and Jay Rosenblatt.

Tonight we will be featuring Program 1 of the touring festival, which includes several experimental shorts, animation, documentary shorts and others.  A full list of films can be found here.

August 17 – North American Premiere of Susan Mogul’s “Driving Men” at AFI

Sunday, August 17, 2008, 7:00pm

At the American Film Institute
Mark Goodson Screening Room
2021 North Western Ave. (at Franklin)
Free parking in the AFI lot

Los Angeles Filmforum presents
Susan Mogul with her new film Driving Men
Susan Mogul in person, plus free wine & birthday cake reception after the screening!

For reservations, email us the name and the number in your party.

Filmforum is delighted to host world-renowned video artist Susan Mogul with the North American Premiere of Driving Men (2008, 68 min)

For this special event, Filmforum will be changing to a new location, the Mark Goodson Screening Room on the campus of the American Film Institute. There will be a free wine and cake reception in honor of Mogul’s birthday after the screening.

The world premiere of Driving Men was at the Nyon International Film Festival in Switzerland and screened in the prestigious International Competition. Mogul’s hilarious and poignant feature length film appears to be a personal story, yet it explores universal issues: the relationships between fathers and daughters, men and women, politics, sex, love, and Jewishness.

Sassy, iconoclastic, and never-married, Los Angeles filmmaker Susan Mogul rides shotgun with ex-lovers, almost lovers, three brothers and her Dad, in a road movie turned inside out. Conversations with each driving man- a pornographer, tuba player, TV critic, long haul truck driver, and more – are catalysts to reflect upon the past and comment about the present.

The point of departure for her journey is a car accident when Mogul lost her first love in 1969. This tragedy haunts the film. Yet, as this multi-layered story about her relationships unfold, it is clear that Mogul’s loss, at the age of twenty, was the inspiration for her long time love affair with the camera.

Raucous anecdotes about her contentious relationship with Dad, the protagonist, and, her provocative video art from the past, are woven through this episodic and experimental film. The pieces of Mogul’s life accumulate and merge into the tale of a woman who, at the age of 58, comes to terms with her father, and, to her amazement finds love and intimacy in the course of filming Driving Men.

The film features a variety of men who have been prominent in the Los Angeles art and music scenes for many years, including Bill Roper, tuba player extraordinaire; artists Pierre Picot and Barry Markowitz; award-winning X rated filmmaker Ed DeRoo; former Los Angeles Times Television critic Howard Rosenberg; and historian David N. Myers.

The trailer for Driving Men can be found on Susan Mogul’s home page.

Susan Mogul mixes and blurs genres – autobiography, documentary and ethnography – to create dramatic and poetic narratives out the everyday. Turning her barbed wit both inwards and outwards this pioneering video artist, reflects on women’s private and public lives. Her films have screened on television, museums, and film festivals, nationally and internationally. A Guggenheim recipient, Mogul has been funded by ITVS, NEA, Getty Trust, and nominated for a Rockefeller. A retrospective of her film and video work will be presented in 2009 at Visions du Reel, a documentary festival in Nyon, Switzerland. Her video art was featured in 2008 at the Getty Museum in “California Video.” Her filmography is below. More information can be found on Susan’s website.

Also available upon request at the screening is the article “Susan Mogul: A Work in Progress,” by James M. Moran, in the Los Angeles Filmforum catalogue Scratching the Belly of the Beast: Cutting Edge Media in Los Angeles, 1922-94.

Credits- Driving Men
Director, Producer, Writer, Cinematographer, Editor – Susan Mogul
Featuring: Barry Markowitz, Ed De Roo, Pierre Picot, Sandy Mogul, Jess Mogul, Mark Mogul,
Eric Martin, Howard Rosenberg, William Roper, Ron Schneck, David N. Myers, Gene Mogul
Executive Producer – Michael Mayer
Additional Editing – Elise Ludwig
Creative Consultant – David Zeiger

Susan Mogul Filmography
Producer/ Director/ Writer/ Cinematographer/ Editor on all projects listed

* SING, O BARREN WOMAN (2000, 11 min.)

* I STARE AT YOU AND DREAM (1997, 60 min.)

* EVERYDAY ECHO STREET; A SUMMER DIARY (1993, 30 min.)

* DEAR DENNIS, (1988, 4 min. )

* TAKE OFF, (1974, 10 min.)

* DRESSING UP, (1973, 7 min.)

July 6 & Aug 3 – The Films of George Kuchar at the Silent Movie Theatre

Filmforum co-presents two screenings with Cinefamily at the Silent Movie Theatre on July 6 & August 3.

7/6 @ 8pm
George Kuchar in N.Y.C.
8/3 @ 8pm
George Kuchar in S.F.
“George and Mike Kuchar’s films were my first inspiration.”—John Waters

Starting at the age of twelve on their parents’ Bronx rooftop, George Kuchar and his twin brother Mike created a series of absurd, homemade epics that became underground film classics, probably to the brothers’ own surprise. Made with their cast of misfits, drag queens, and overweight women–in other words, stars!–the Kuchar brothers employed an original lo-fi aesthetic that joyfully transformed every flaw into a charming detail, and wallowed cheerfully in their own cheapness. George’s love of trash, camp, and melodrama, infect every second of his crazed, unique films. Aside from John Waters, his influence can still be felt in filmmakers from Guy Maddin to David Lynch. The prolific nature of George’s output made it hard for us to keep our program down to two nights, but this is the best we could do. Enjoy.

Part 1: The NYC Years. Made during the heyday of the New York Underground, these are the films that almost defined the term. And
they’re funny as hell. Films include: Hold Me While I’m Naked (1966), Leisure (1966), Mosholu Holiday (1966), Color Me Shameless (1967), Eclipse of the Sun Virgin (1967), Knocturne (1968), and House of the White People (1968).
Dir. George Kuchar, 1966-68, various formats, 107 min.

Part 2: The SF Years. After George lost his job doing commercial art work, he accepted a position as an associate professor at the San
Fransisco Art Insititute. Now on the West Coast, he not only continued his own personal output, but began making films with his students, films that range from the insane to the mildly pornographic, and often both. And they’re funny as hell. Films include: I, An Actress (1977), Wild Night In El Rio (1977), Prescription In Blue (1978), The Woman And The Dress (1980), Yolanda (1981), Cattle Mutilations (1983), and Insanatorium (1987).
Dir. George Kuchar, 1977-87, various formats, 125 min.
Tickets – $13/$9 for members

For more details and to buy tickets visit http://www.silentmovietheatre.com/calendar/events.html

June 29 – Owen Land – New and In Person!

Sunday June 29, 2008, 7:00 pm

At the Egyptian Theater in Hollywood

Los Angeles Filmforum presents

Owen Land – New and In Person!

Filmforum is delighted to host the legendary filmmaker Owen Land (formerly known as George Landow). This is the first appearance he has made at a screening in Los Angeles since the late 1990s. We’re delighted to host the World premiere of two new works:

Why Do We Disrespect Our Genitals? (an episode from Dialogues, or A Waist Is A Terrible Thing To Mind) (2008, video, 4 min.) , and Undesirables (Condensed Version) (2008, video, 14 min.)

Why Do We Disrespect Our Genitals? (an episode from Dialogues, or A Waist Is A Terrible Thing To Mind) (2008, video, 4 min.)Melissa Paradise, featured in \

“DIALOGUES is an autobiographical feature inspired by Plato’s dialogue Phaedo. The subtext is that the female human body is a manifestation of God. The film begins with quotations from the Song of Solomon, and Bud Fisher, creator of ‘Mutt and Jeff.’ The ancient Hebrew concept of the Shekinah was the female as a visible manifestation of the divine presence. In Tantra, it’s called Shakti.” -Owen Land (at right, Melissa Paradise, featured in “Dialogues”)

Undesirables (Condensed Version) (2008, video, 14 min.)
The screenplay was originally written (in 1997) as a response to a semi-serious remark made by Stan Brakhage in 1971: “Someday Hollywood will probably make a film about us, the American experimental
film-makers of the 1960s. I wonder which movie stars they will cast to play us.” It incorporates all of the paranoid conspiracy theories that have been around for the last three decades. -Owen Land

Land will also be signing copies of his book Two Films by Owen Land, which will be available for sale. Come and be delighted and surprised!

Also screening, at Land’s request, are two avant-garde classics:

Thanatopsis by Ed Emshwiller (1962, 16mm, black and white, sound, 5 min)

An expression of internal anguish. The confrontation of a man and his torment. Juxtaposed against his external composure are images of a woman and lights in distortion, with tension heightened by the sounds of power saws and a heartbeat.

Critical Mass (Hapax Legomena III) by Hollis Frampton (1971, 16mm, black and white, sound, 25.5 min.)

As a work of art I think (Critical Mass) is quite universal and deals with all quarrels (those between men and women, or men and men, or women and women, or children, or war). It is war!… It is one of the most delicate and clear statements of inter-human relationships and the difficulties of them that I have ever seen. It is very funny, and rather obviously so. It is a magic film in that you can enjoy it, with greater appreciation, each time you look at it. Most aesthetic experiences are not enjoyable on the surface. You have to look at them a number of times before you are able to fully enjoy them, but this one stands up at once, and again and again, and is amazingly clear.” — Stan Brakhage

MORE ON OWEN LAND
Owen Land, formerly known as George Landow, was one of the most original and celebrated American filmmakers of the 1960s and 1970s.

His early materialist works anticipated Structural Film, the definition of which provoked his rejection of film theory and convention. Having first explored the physical qualities of the celluloid strip itself in FILM IN WHICH THERE APPEAR … and BARDO FOLLIES, his attention turned to the spectator in a series of ‘literal’ films that question the illusionary nature of cinema through the use of word play and optical ambiguity.

Continue reading