The Palace at 4 am is the experience of a fragile palace of collisions suspended in a montage vision. A hazy patchwork of structures. The Palace becomes visible only to repeatedly collapse in a liminal interference of the absence. An unrest landscape of the insight. Space-time of thresholds. This is The Palace at 4 am.
Pandora is one who communicates to the human world the powers of the night. These are glimpses of her visions.
Panzano creates a matrix where the three most taken-for-granted elements of any film (camera, subjects, and the spaces they inhabit) are all delicately at odds with one another — allowed to float freely, gauge the terrain, and stake out a compromise. It could have all come across as hopelessly vague and amorphous were it not for the fact that this is ostensibly a home and presumably a family. The strange rituals, comings and goings, arguments and reconciliations, and — most crucially — perpetual limbo are, after all, merely our own.
— Carlos Garza
A political composition on natural resistance. These images are an expiring breath in danger of extinction. These images become extinguished, consumed: a drop, a pure intensity which only appears when falling. In the presence of the image these audiovisual crowds become an affected body, assaulted by entropy. A face exhausted and reanimated by the continuous sound trance that traverses the battlefield. Faces for an eye that would not need to see.
2005-2007 What is explained can be denied, but what is felt can't be forgotten. -- Charles Bowden Ghost: the outward and visible sign of an inward fear. -- Ambrose Bierce
An homage to Walter Benjamin and other time-traveling artists and expatriates that have inspired me, especially Chris Marker. Benjamin, fleeing from fascism in the 1930s, took refuge in Paris where Biblioteque Nacional became his home away from home.
This is the burial hymn for thousands of souls in anthropocentric times. The ghosts of the American way of life. Part of the Hauntology series.
"Persistence was shot in 1991-92 in Berlin, and edited with films by U.S. Signal Corps cameramen in 1945-46, obtained from Department of Defense archives. Interspersed through these materials are filmic quotations from Rossellini's Germany Year Zero (1946). A meditation on the time just after a great historical event, about what is common to moments such as these—the continuous and discontinuous threads of history—and our attachment to cinematic modes of observation that, by necessity, shape our view of events.
Petrolia takes its name from a redundant oil-drilling platform set in the Cromarty Firth, Scotland. The film looks at the architecture of the oil industry along the Scottish coastline where oil and gas supplies are predicted to run dry in the next forty years.
Pictures from Dorothy is a current day consideration of the symbolism of Frank Baum’s Wizard of Oz.
Cast: Matilda Washington. Music: David Reid.
This title is only available on Broad Daylight and Other Times: Selected Works of Kevin Jerome Everson.
Pitayas are the sacred Mesoamerican fruits that grow on Mexican nopales, an ancient plant. This is the colorful body, the vibrant blood and the radiant skin of the open life.
Bracketed by the Fall of Berlin Wall and the Collapse of the World Trade Center, a decade that saw the ossification of the neoliberal project, the rise of third-wave feminism, the proliferation of digital media, and even, perhaps, the “end of history": postmodernism; the emergence of internet; the commercialization of gangsta rap, and independent film; AIDS activist; digital cinema, the Gulf War; rave and riot grrrl cultures; reality television; MTV. A new diagrammatic system.
Scratch of image. As a consequence of a global quarantine, an entire device emerged. With much of humanity locked up and eager for communication, a pandemic exhibitionism went viral. Covid-19 mobilizes an audiovisual pandemic. The result: a plague of viralized images.
Part of paraconsistent sequence series and the hauntology series.
This is the hauntological image of the sacred Mesoamerican snake. The contemporary flickering of his shamanic presence. Part of the Hauntology series.
There has to be a way to win is the refrain. Three women fold clothes, stroll and shop as they discuss jealousy, murder and dead bodies. An enquiry into the generosity of women.
Players: Trina Vester, Karin Westerlund, Lise Kelleman.
Shot on location in Kobenhavn.
There has to be a way to win is the refrain. Three women fold clothes, stroll and shop as they discuss jealousy, murder and dead bodies. An enquiry into the generosity of women.
Players: Trina Vester, Karin Westerlund, Lise Kelleman.
Shot on location in Kobenhavn.
Taking its name from the Jim Crow-era of black criminals staring at white women, this hand-processed, optically-printed amalgam reframes desire by way of everything from D.W. Griffith to Foxy Brown and Angela Davis: 'Your lover belongs to this band of murderous outlaws.'
–– Cinematexas International Short Film Festival
This version of the film is a 2K restoration made by the Academy Film Archive in 2022.
A lighting psalmody by the current Mexican conflagration. Light through the veins.