The question, “Who am I?” has been asked over the centuries in many different ways. Videomaker Carlos Nader adds another approach in his investigation into the nature of the individual by taking the work beyond self-examination and asking it of others. What is revealed is the impossibility of rational thinking to understand the essentialism of human identity. Nader describes this work as a “non-autobiography-video” about its author; a video about nothing.” Exploring notions of the irreducibility of identity to one’s color, nationality, or politics, the tape “wants to be anyone’s biography.
George stays in San Francisco for this video about local filmmakers and their future projects.
Summer and smoke (from pork chops) filters into every rip in my tee-shirt as legs and souls are bared for the infra-red-hot digital camera that's ON THE PROWL!
Addressing the camera, Segalove confesses to plagarizing her 5th grade report, The Story of Coal.
Legendary filmmaker George Kuchar, in between trips to the bathroom, visits three Bay area friends: an eccentric filmmaking couple who produce zombie movies, and performer Billy Nayer.
A poetic meditation on distance, Come Closer is a short and peripatetic film, casting an affective web between the locations of Lisbon, San Francisco and Brazil. Focusing on Brazilian-Algerian filmmaker Karim Aïnouz, musician Derrick Green –– the filmmaker’s brother and lead singer of Brazilian band Sepultura –– and her own work produced in Lisbon since 1992, Come Closer can be thought as a meditation on friendship and saudade.
A stay in Fairfiled, Iowa reveals the American dream being riddled with that which dwells on distant planes and the need for our nation’s people to express the forces of good and evil via videography and pyrotechnical vomit.
The fragment contains within it an implied reference to something that was once whole. It suggests damage and violence, time and distance. These qualities I found were integral to my own constitution, and it was with the making of Cooperation Of Parts that this became clear.
“Misfortune makes and breaks you.” I have the misfortune of a history of disruptions, and the fortune of having that history to work with.
A party of past students illuminates this diary of boxed dreams, as those enclosed face the real world and nurture into existence the future people of the next millennium.
Tippi the she-devil gets a little playmate of the feline persuasion while I dangle about the puppet populated premises with a head full of scholastic memories that delineate several teaching gigs featuring the fruits of our intercourse.
The police phoned. They left a message on the machine. They said he was dead. The video unwinds through stories of sex for rent, unclaimed bodies, cigarette burns, and other monuments of life’s long run from wall to wall. Cut the Parrot is three grotesque comedies in one: the stories of Gerry, Susan, and Albert. Songs of hope and heartbreak spill from the mouths of the performers. The order of impersonation rules.
A prop-filled encounter with a young fantasy filmmaker eventually becomes muffled by an earwax problem I develop; but not before the viewer is dragged through Studio 8 where my class and I are concocting a sordid, high school melodrama.
This time, the call of the west sends me packing to Oregon, California and Arizona. You too can experience the dizzy delights of a whirlwind tour and witness wonders seen through the savage eye of a Sony camcorder. Actually, the adventure is rather mellow in mood and should spare the viewer a need for the ever looming and inevitable barf bag. See Phoenix in all its rocky royalty! Relish in the student clogged ivy halls of Portland! Immerse yourself in a technicolor rendering of Irvine, California.
This is a journey to El Paso, Texas, where the Super-8 filmmaker Willie Varella and I have a dialogue amid domestic routines, motel accommodations, and emotional baggage, indicative of life on the road.
Christmas is here again in this diary of glittering gifts, furry friends, underground movie making, and grotesque greetings. A veneer of good cheer coats the surface like thin ice, so proceed with caution!
A sprawling look at chunks of our country as I travel back east to present some programs, and a peek at the venues that screen underground movies to the youth of today. The video also opens up big vistas of the West as I daydream about recent trips to mountainous terrain while admiring a plaster diorama of the Pacific northwest which I purchased at an all-you-can-eat restaurant in Pennsylvania.
An epistolary, musical reimagining of Wuthering Heights by Branwell Brontë — the tubercular, alcoholic and opium-addicted brother of Emily Brontë. When Branwell — the ne’er-do-well, tubercular brother of the Brontë sisters — discovered that Emily was writing her first novel, he offered to be her editor. Once he realized that he was the model for the alcoholic Hindley Earnshaw character, he reimagined the story as a musical memoir of his own life with Hindley as the hero.
A trip to Boston to visit a local filmmaker in his studio is followed by a journey to the cinematic facilities of SUNY College in Purchase, NY, and then to the kitchen and living quarters of my mother in the Bronx. My mother is in her most candid mode as we relate and debate. My brother Mike suffers dental woes, too.
We are what we eat, and we talk about what we are; so, naturally, we get hungry all the time. Join my friends as we not only hear, but see what they are and taste the essence of each one without the fear of emotional attachment. A leisurely, if somewhat "lazy Susan" of chewable tidbits that can be spit out if so desired (or undesired). A session of chowing down and chewing the fat with an assortment of gobblers that break bread, but no wind, with me.
Endless Dreams and Water Between is a feature film with four fictitious characters sustaining an epistolary exchange in which their “planetary thought” is woven with the physical locations they inhabit, visual and aural characters in themselves: the island of Manhattan, the island of Majorca, in Spain, and the islands and peninsula that form the San Francisco Bay Area. The characters’ reflections and dreams enact what could be described as “an archipelagic mind,” linking worlds, time, and space.
"I'm not finished. I don't know how long it's going to take. As far as I'm concerned I'm officially dead."
In his 50th year, Colin looks back on a life of drug and alcohol abuse. Four years into recovery, he is angry and articulate about addiction, treatment, and the romance of the street. In the chaos and claustrophobia of an ice storm, Colin waits to be reborn. His erratic angel is late.
A rumination via handwritten index cards and an assortment of images recalling histories and ambitions of varied film productions.
A photographer comes to my home to take pictures and gets a lensful. His mouth and his shutter snap away as I aim my finest attributes at his cold and hard equipment.
Set to music by Bikini Kill (an all-girl band from Washington), Sadie Benning's Girl Power is a raucous vision of what it means to be a radical girl in the 1990s. Benning relates her personal rebellion against school, family, and female stereotypes as a story of personal freedom, telling how she used to model like Matt Dillon and skip school to have adventures alone. Informed by the underground “riot grrrl” movement, this tape transforms the image politics of female youth, rejecting traditional passivity and polite compliance in favor of radical independence and a self-determined sexual identity.
In this impressionistic piece, O’Reilly provides a gripping portrait of personal trauma, while detailing the severe mental and physical confusion following two incidents. In April of 1991, O'Reilly broke his jaw in a biking accident, and in July of that same year he was assaulted and had to undergo brain surgery as a result. The video is breathtaking, as O’Reilly narrates the painful story of his recovery, his problems with Public Aid, and his daily adjustment to pain.