BFMAF 2016 Catalogue by Berwick Film & Media Arts Festival

CATALOGUE

FUNDERS, SPONSORS AND PARTNERS Thank you to all of our funders, sponsors and partners who have helped make this yearâ&#x20AC;&#x2122;s Festival possible.

Key Partners:

Sponsors & Supporters:

Programme Partners:

Berwick Migrant Support Group

Partner Venues:

CONTENTS

Welcome Films Berwick New Cinema An Early Clue to the New Direction: Queer Cinema before Stonewall Artist’s Cut

06 08 18 40 58 62 68 76 86 88 90 92 94

Exhibitions Special Events Index Venues Map Festival diary Thanks

Published as part of the 12th Berwick Film & Media Arts Festival 21 – 25 September 2016 Published by Berwick Film & Media Arts Festival Ltd. Company No. 5622380, The Maltings Theatre & Cinema, Eastern Lane, Berwick-upon-Tweed, Northumberland , TD15 1AJ , United Kingdom

© Berwick Film & Media Arts Festival 2016 ISBN: 978-0-9551203-8-1 All images courtesy of the artists except pages 14, 32 and 64 (bottom, left): courtesy of the artists and LUX (London); page 35: courtesy the artist and Simon Preston Gallery, New York; page 48: courtesy of the Swedish New York and Brussels: page 56: © 2016 The Andy Warhol Museum; page 70: Courtesy of Ghislaine Leung. Page 42-47: ‘Flaming Features: Douglas Crimp talks with Thomas Beard’ © Artforum, April 2016

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission of the publishers. Design and typesetting by me & alan | www.meandalan.cc Cover, illustrations and map by Emer Tumilty Printed in Great Britain by Martins the Book Printers of Berwick-upon-Tweed | www.martins-the-printers.com

WELCOME I’m writing to you just shy of a week from the start of the 12th Berwick Film & Media Arts Festival (BFMAF): a full calendar year in preparation, and the product of hopes and dreams and encounters stretching back much, much further than that. You are the X, and the reason that this Festival thrives. Without taking a moment outside of your dayto-day goings on, without your sense of adventure and making yourself open to the pleasures and may bring you, none of this would be able to happen. X is 2016’s Festival theme and it’s about involving people and multiplying creative possibilities – taking risks and being open to where those new processes might take us. It can begin with room to play, literally animating Berwick’s High Street in BFMAF’s new Xplore Space and family hub (with thanks to Simpson McCreath Trust). Or with Sophie Michael’s The Watershow Extravaganza arriving in St. Aidan’s Peace Church, fresh from the Toronto International Film Festival. The Peace Church is another fresh 2016 Festival location, but a place which for decades already has been home to strong voices committed to social The X of transformation and empowerment continues into Lucy Parker’s Persuasion, a culmination of played our part. We’re excited too that Darren Henley, the Chief Executive of Arts Council England, will Portfolio Organisations, BFMAF and Berwick Visual Arts bear strong testament to the multiplying effects of their support. BFMAF is a celebration of relationships both new and old. X is also the tenth birthday of Berwick Film sudden on a specially-built set at the Palace Green Pavilion. features Platonic new directions in the world premiere of Xenoi, and Claire Hooper will be setting the stage in There is a Lone Woman at the Door artist, Asifa Lahore.

competition in Berwick. Featuring the UK premiere of If It Was from Turner Prize-winner Laure Prouvost At the centre of the Festival this year is Thomas Beard’s lovingly curated retrospective, An Early Clue to the New Direction: Queer Cinema Before Stonewall visions of Andy Warhol and Jack Smith, it’s a landmark selection screened in full 16mm and 35mm glory. including Philip Trevelyan’s The Moon and the Sledgehammer (recommended by festival volunteer Nick Jones) and Na srebrnym globie (On The Silver Globe). Presented with Berwick’s Migrant Support Group, even exists. Particular thanks are due to BFMAF’s heroic funders, especially the British Film Institute, Active Northumberland, the Community Foundation and Arch - The Northumberland Development Company, for their thoughtful and pragmatic support. We are also indebted to the programme partners for all their generous collaborations, and to the energies and commitment of the volunteers, staff and board for their inspiring visions.

Thanks

Peter Taylor BFMAF Director

BFMAF 2016 Board Huw Davies (Chair) Menelaos Gkartzios Samm Haillay Joe Lang Wendy Law Kelly Ling Andrew Ormston Dr. Venda Pollock Scott Sherrard Laura Simpson Matt Stokes Team Amaya BaĂąuelos Marco Katie Chappel Kathinka Engels Bong Espeso Ashley Green Jennifer Heald Steve Holmes Marc David Jacobs Gerry Maguire Taylor Mitchell Arnaud Moinet Olly Nendick Ben Pointeker Will Rose Laura Rothwell Herb Shellenberger Chloe Smith Diana Stevenson Peter Taylor Chloe Thorne Ed Webb-Ingall

Learning and Participation Assistant Xplore Space Artist Facilitator Festival Assistant Technician Technician Technical Manager Programme and Projects Coordinator Production Consultant Festival Assistant Technician Technician Associate Programmer 16mm Projection Marketing Consultant Associate Programmer Xplore Space Artist Facilitator Festival Manager Director Associate Programmer Berwick New Cinema Seminar

Films

OPENING GALA

George Cukor was one of Hollywood’s most successful and versatile drama, the screwball comedy, the domestic thriller, and the literary adaptation-not to mention a legendary director of actresses, guiding the likes of Greta Garbo, Katharine Hepburn, Joan Crawford, and Judy Garland to career-

Sylvia Scarlett George Cukor

USA | 1935 | 16mm | 95 Wednesday 21 September | 7pm | The Maltings Theatre & Cinema

Part of An Early Clue to the New Direction: Queer Cinema Before Stonewall Condemned by the Legion of Decency and a Sylvia Scarlett was as one of the highlights of Cukor’s impressive

In a scheme to help her embezzling bookkeeper father escape Marseilles for London, young Sylvia (Katharine Hepburn) cuts her hair, dons a fedora, and changes her name to Sylvester. En route, they encounter a ‘gentleman adventurer’ (Cary Grant, at his most louche) and together the trio starts grifting, though Sylvester proves too high-minded for the criminal life. Cukor’s sexuality sometimes found a subterranean expression in his pictures, and this is nowhere more apparent than in Sylvia Scarlett, a gender-bending picaresque tale in which the evolving, for the cast and audience alike. ‘I know what it is,’ one character memorably declares to Sylvester, ‘that gives me a queer feeling when I look at you.’ FILMS

Lincoln Center. Selected Filmography My Fair Lady (1964), Born Yesterday (1950), Gaslight (1944), The Philadelphia Story (1940) Credits Director: George Cukor Writer: Gladys Unger, John Collier, Mortimer Offner; based on the novel by Compton Mackenzie Producer: Pandro S Berman DOP: Joseph August Editor: Jane Loring Composer: Roy Webb Art Direction: Van Nest Polglase Sound Design: George D Ellis Cast: Katharine Hepburn, Cary Grant, Brian Aherne, Edmund Gwenn Print/Sales BFI/BBC

OPENING GALA Sponsored by

CLOSING GALA

Nele Wohlatz Born in 1982 in Hannover, Germany, Wohlatz studied scenography at the University of Applied Arts Karlsruhe

El futuro perfecto

Di Tella, Buenos Aires. In 2016 she was selected for the Berlinale Talents Docstation. She directed several short

Nele Wohlatz

curates a program of German cinema at Goethe Institut Buenos Aires. In

Argentina | 2016 | 65 | UK Premiere Sunday 25 September | 8pm | The Maltings Theatre & Cinema

was premiered at BAFICI and received awards at FIDMarseille, Antofadocs and Duisburger Filmwoche.

(The Future Perfect)

Xiaobin is 17 and unable to speak a word in Spanish when she arrives in Argentina. A few days later, supermarket. Her family lives in the parallel universe of their launderette, separated from the Argentineans. Hiding from her parents, Xiaobin begins saving up for language courses. Whatever she learns in Spanish class, she tries out in real life. After a lesson in ‘setting up an appointment’, she goes on a date they nevertheless begin a secret relationship. After practicing the conditional, the tense of the hypothetical future, her imagination springs into her new life, and Xiaobin begins to think about her future. The better her Spanish gets, the more Xiaobin intervenes in the rehearsal room for Xiaobin’s new life. Prior to the screening will be the announcement of the 2016 Berwick New Cinema Award.

Original Language Spanish and Mandarin Chinese with English subtitles Selected Filmography La mochila perfecta (2014) (2013) (2009), Novios del Campo (2009) Credits Director/Writer: Nele Wohlatz Producers: Cecilia Salim, Nele Wohlatz DOPs: Roman Kasseroller, Agustina San Martín Editor: Ana Godoy Sound Design: Nahuel Palenque Cast: Mian Jiang, Dong Xi Wang, Nahuel Pérez Biscayart Awards Locarno International Film Festival 2016 – Prize for Best First Feature Print/Sales: Murillo Cine

CLOSING GALA Supported by

FILMS

Avril et le monde truqué

(April and the Extraordinary World) Christian Desmares and Franck Ekinci

France | 2015 | 106 Thursday 22 September | 7pm | The Maltings Theatre & Cinema

A quest to create and control a life-preserving potion provides the ambitious adventure plot for this steam-punk alternative history of a world deprived of

The animation is styled on the work of the French graphic novelist Jacques Tardi, whose own ligneclaire drawing was inherited from Hergé. It teasingly reimagines 1941 Paris into a distorted familiarity (including two Eiffel Towers) and populates it with ingenious steam-driven devices – while following young scientist-pioneer April’s hectic world-saving mission.

Franck Ekinci founded the Je Suis Bien Content animation studio with Marc Jousset in 1996. Most recently, Franck co-wrote and directed the animation inspired by Tardi, April and the Extraordinary World released in France in October 2015. Christian Desmares’ career in animation began in 1998. In 2007, he acted as the

Persepolis, which was inspired by the Original Language French with English subtitles Credits Directors: Christian Desmares, Franck Ekinci Writers: Creation/Graphic Universe: Jacques Tardi Executive Producers: Marc Jousset, Franck Ekinci Cast: Marion Cotillard, Philippe Katerine, Jean Rochefort, Olivier Gourment, Bouli Lanners Awards Annecy International Animated Film Festival 2015 – Best Feature Film Print/Sales StudioCanal

Presented with

FILMS

ESSENTIAL CINEMA

(1940-2016) was a director and writer. Best known for his work with actresses Romy Schneider,

Na srebrnym globie (On the Silver Globe)

kind of awareness, nervousness and order to shock through form(...)If there

Poland | 1988 | 166 Saturday 24 September | 7pm | The Maltings Theatre & Cinema

The most expensive production in Polish cinema, on the surface of a distant planet, populated by bird like creatures and the descendants of stranded astronauts. Nearly buried by the then Polish Minister of Culture, it resurfaced after a decade to wide acclaim. The BFMAF features a glorious new digital death in February.

quite literally creates a new cinematic world, On the Silver Globe is perhaps the grandest expression of was appointed vice-minister of cultural affairs. He and the Szerns as a thinly veiled allegory of the Polish people’s struggle with totalitarianism. Wilhelmi shut complete, and ordered all materials destroyed.

is not necessarily pretty or bright, the aim is to go through a tunnel and get to some light. There is a purpose, a method, motion the audience’ feelings, thoughts, nerves, senses - in every respect.’ Original Language Polish with English subtitles Selected Filmography (2000), Mes nuits sont plus (1989), Possession (1981), L’important c’est d’aimer (1975), Trzecia czesc nocy (1971) Credits Director/Writer: Producers: Barski, Tadeusz Lampka DOP: Editor: Krzysztof Osiecki Composer: Art Direction: Tadeusz Kosarewicz, Jerzy Sound Design: Cast: Iwona Bielska

Presented with

Print/Sales FIXA Film/Studio Filmowe Kadr

The Berwick Migrant Support Group

ESSENTIAL CINEMA

Bogman Palmjaguar Luke Fowler

UK | 2008 | 30 Friday 23 September | 7pm | The Maltings Theatre & Cinema

is a portrait of a man who became distrustful of people and withdrew into nature. Bogman is passionate about the threatened habitat of Scotland’s Flow Country. But Bogman’s early life and subsequent diagnosis as ‘paranoid schizophrenic’ conditions his relationships with other people. Describing himself as ‘the hidden cat’ and ‘wild outlaw of paradise’, Bogman is taking legal action to remove the label ‘paranoid schizophrenic’.

recordings accompany the images.

Luke Fowler musician based in Glasgow. His work explores the limits and conventions of biographical and documentary footage, photography and sound, Fowler has written that he hopes to transmit to the viewer his ‘own convictions about an individual or movement whose values have largely been dismissed, marginalised or mis-recognised by ideology, memory, politics, listening, physical phenomena... and the whole messy business of representation.’ Fowler was the 2008 Jarman Award winner and a nominee for the Turner Prize in 2012. He performs in the band AMOR with Richard Youngs, Paul Thomson and Michael Francis Duch. Selected Filmography For Christian (2016), Depositions (2014), To the Editor of the Amateur Photographer (2014) The Poor Stockinger, the Luddite Cropper and the Deluded Followers of Joanna Southcott (2012), All Divided Selves (2012), A Grammar for Listening, Parts 1-3 (2009), Pilgrimage from Scattered Points (2006), What You See Is Where You’re At (2001) Print/Sales LUX

ESSENTIAL CINEMA

ESSENTIAL CINEMA: PHILIP TREVELYAN

The Moon and the Sledgehammer Philip Trevelyan

UK | 1971 | 65 Friday 23 September | 7pm | The Maltings Theatre & Cinema

family who retreated to the woods, working primarily as agricultural contractors and engineers. In the summer months they also provided steam and electrical power for the circus; the family’s father, Mr. Page—affectionately known as ‘Oily Page’—even by the book of Revelations, the family was suspicious of society and progress. The development of modern agriculture in Britain’s postwar drive for cheaper food removed people from the land. For Mr. Page, this social tragedy and waste was

Philip Trevelyan Born in London in 1943. Son of Julian Trevelyan, painter. Department of Fine Art, Kings College Newcastle, 1960-1962. Department of Film and Television, Royal College of Art, 1963-1966. Documentary teams at Granada Television, 1967, and BBC Television, 1968. Started farming at Hill Top Farm in North Yorkshire, 1975. Founded the Lazy Dog Tool Company, designing and making specialist hand tools. Founded Yorkshire Organic Millers, in Newhaven, Sussex. Selected Filmography Surrealism in Liverpool (1985), Basil Bunting (1979), Portraits of Places (19721974), The Ship Hotel, Tyne Maine (1966) Credits Director/Writer: Philip Trevelyan Producer: James Vaughan DOP: Richard Stanley Editor: Barrie Vince Sound Design: Paul Robinson, Tony Anscombe Cast: Kathy Page, Mr Page, Kim Page, Peter Page, Nancy Page Print/Sales Philip Trevelyan & Katy McMillan

was recorded. However, alongside the suspicion and unhappiness that grew out of the family’s retreat from society, they never let go of a simple, infectious children’s re-enactments of happy times or by the youngest son when he describes the sound of steam engines, climbs trees, or tells us that he has observed the moon through a homemade telescope. (Philip Trevelyan)

ESSENTIAL CINEMA

ESSENTIAL CINEMA: PHILIP TREVELYAN

Credits Director/Editor: Philip Trevelyan Producer: 220 Productions, BBC, Crafts Advisory Committee DOP: AC Morphet

Big Ware

Print/Sales Philip Trevelyan

Philip Trevelyan

UK | 1971 | 16mm | 40 Saturday 24 September | 1pm | Henry Travers Studio

This is a record of the last pottery in England that made the everyday pots that households and businesses have used for centuries. The potter, Mr. George Curtis, remembers that, in his youth, made, his orders included huge numbers of nesting bowls, made especially for the racing pigeons kept in lofts by the working people of Northern England. The last man to be continuing the tradition, Mr. Curtis, digs his own clay, prepares it, throws it, fettles it and wheel demonstrate powerful and extraordinary skills; George’s modest claim to fame is his throwing speed, which kept him in work throughout his life. His enthusiasm and knowledge are infectious, while the talks us through the various tasks. Towards the end the kiln: ‘You can always tell a good pot by the sound of it.’ All that he shows us rings true. (Philip Trevelyan)

ESSENTIAL CINEMA

ESSENTIAL CINEMA: PHILIP TREVELYAN

Credits Director: Philip Trevelyan Producer: Department of Film and Television, Royal College of Art DOP: Hayden Pearce

Lambing

Print/Sales Philip Trevelyan

Philip Trevelyan

UK | 1964 | 16mm | 20 Saturday 24 September | 1pm | Henry Travers Studio

we follow from morning to night, through snow and was a person I had worked for and admired as a boy. occasionally resorted to a simple wind-up camera. No electricity was used for any lighting and all sound was wild.

in the shepherdâ&#x20AC;&#x2122;s routine work. His passing comments about how to deliver or feed lambs are our only guide. evening turns to night and the shepherd returns to his and quietly sings himself to sleep. (Philip Trevelyan)

ESSENTIAL CINEMA

Berwick New Cinema

Home, Hymn, Hum

Ashbery focuses on what happens when one allows himself to be lost and changed by an unanticipated event, through a process of opening up to foreign experiences. The poem’s speaker describes how this process can produce a sense of liveness, and what this agency might feel like: a ‘hum’. This liveness, this hum, became a trait that emerged in many of

We were warned about spiders, and the occasional famine. We drove downtown to see our neighbors. None of them were home.

theme for this year’s Berwick Film & Media Arts Festival. A drive towards a liveness and agency— produced through an opening to the foreign or the unanticipated—provides a critical frame for this

We nestled in yards the municipality had created, reminisced about other, different places - but were they?

BFMAF’s retrospective program An Early Clue to the New Direction: Queer Cinema Before Stonewall, curated by Thomas Beard, looks at queer identity beyond the gay rights context of the late 1960s. This series proposes a revisionist history, countering the notion that queer cinema—and queer visual

Hadn’t we known it all before? In vineyards where the bee’s hymn drowns the monotony, we slept for

of the Stonewall riots. Opening its focus to other countries, eras and forms, the programme of Queer Cinema Before Stonewall is nonetheless full

He came up to me.

through foreign encounters and experiences. Queer

It was all as it had been, except for the weight of the present, that scuttled the pact we made with heaven.

experience of collisions of bodies and desires, either hidden or overt. From the masochistic voyeurism (or voyeuristic masochism?) of Jean Genet’s Un chant d’amour to the tragic consequences of the obsessive relationship in Queer Cinema Before Stonewall highlights powerful moments of becoming, comparable to Ashbery’s poem, though often taken through to their narrative resolution, whether tragic or triumphant. Across

nor need to turn around, either. to the hum of the wires overhead.

culture formed (and deformed), and how it continues to challenge what we consider intimacy: how people love. John Ashbery’s 2004 poem Ignorance of the Law is No Excuse, set in a generalised American suburb, is a vague portrait of the American dream. It depicts a landscape of mass-produced ‘monotony’ across America. This landscape, a byproduct of a broken American dream where people seek ease and comfort in their surroundings, leaves them burnt out by ‘the great run’ of labour. The greatest pleasure is depicted as the privilege of boredom among the comforting sound of others’ labour, the ‘hymn’ of the bees in the vineyard. There’s no space for curiosity about people; it is not convenient or productive to be curious. However, Ashbery’s poem does not simply provide an atmospheric account of life in mid-century America. The event of the poem is the meeting of ‘he’ and ‘me’. It could be interpreted as a queer encounter because, despite being set in a residential neighbourhood, intimacy is depicted outside of the home and this encounter is conveyed as contrary to religious ideology—breaking the ‘pact… with heaven’. What we know for certain is that ‘he’ being open to meeting ‘me’ changed the landscape, though not towards a clear resolution. This meeting caused the speaker to stand not in time with the world (of drives and driving and productivity) but instead caught in the hum of two people listening together.

BERWICK NEW CINEMA

Berwick New Cinema artists Steve Reinke and Patrick Staff continue to work with the historical legacy being framed by Beard. Reinke’s A Boy Needs a Friend ‘queer Nietzschean friendship’ in autobiographical observations which the artist makes tangibly visible, yet which still seem radically private. In one sequence, we see a close-up view of one of the most concealed, unholy areas of the human body, onto which is being tattooed an ouroboros; this symbol of feedback and rebirth becomes a metaphor for a radically personal act made visible. In Dear Hester (Reversed), Patrick Staff appropriates a drag performance video by Hester Reeve, in a way Through an exchange of letters between himself and archive and viewing it elicited a powerful reaction from him, its ‘gender fuck, gender queer’ implications something out’ about himself. Ultimately, Dear Hester (Reversed) simultaneously incorporates the original video, Staff’s reaction and both Reeve’s and his correspondence, all in the span of a few short minutes. These elements are compiled together for the viewer but their sequence is shifted, the initial discovery becoming the denouement.

year. Brief snippets in quick succession, the outré music and performances occurred in small venues, warehouses and basements, and often featured charged, kinetic and unanticipated interactions between performer and audience. While a handful of musicians may be known quantities today, the as exciting (and sometimes shocking) as they must have been in the early aughts.

In contrast, ’s Eleven Men, an adaptation of a short story by Franz Kafka, proposes the potentiality of encounters as frustrating and ultimately doomed to fail. The video poetically investigates the relationships of its narrator to her from the years 1966—2000, each starring actress Nhu Quynh. The text begins ‘I have eleven men’, and sequentially the narrator describes each man’s strengths, weaknesses, mannerisms and peculiarities in acute detail. Despite the keenly personal nature of each description, the overall arrangement of each, produces a sense of ephemerality in these relationships. Continuing collisions of intimacy become subverted by the eventual next portrait the narrator sketches. It’s as if each man—and each relationship—reveals a marvellous potential without that potential ever becoming realised. The main action in Ashbery’s poem is in the smallest movement between the words home, hymn and

in showing how intimacy can be expanded beyond the home. Artists at the Berwick Film and Media Arts Festival also create new audio-visual landscapes a hum, through unknowing, new landscapes and new languages. This reluctance to conventional the programme as a technique to forge new ways of linking both images and ideas. One such artist addressing this hum is Artist in Focus Deborah Stratman, who describes her practice: ‘I want to come at things from a place of unknowing. I make because I don’t know… I’m asking questions, trusting my audience to experience visual poetry and different audio-visual structures that say as much as language can.’ Stratman facilitates the audience’s experience through the time-based medium of the moving image, which, like music or performance unfolds over a duration, temporarily suspending the outside world in favour of traversing the landscape— in the case of her installation Xenoi, a circular, feedback-laden view of the Greek island of Syros. The videos of Molly Palmer and C. Spencer Yeh both explore landscapes that hum, scenarios where communication is primarily done without words. In 2002, installed in The Barrels Ale House, Yeh shows a compilation of performances by bands, musicians and sound artists that he recorded during the titular

Molly Palmer’s Some Shapes Without Edges shows otherworldly humans communicating through rhythms and patterns in the midst of a wonderfullycrafted mise en scène. Through layering, rhythm and multiplicity (of bodies, viewpoints and perspectives) we witness fractured identities. These bodies encounter each other (themselves) through the Multiple, mirrored portraits of self also appear in Jenny Brady’s installation Going to the Mountain, a raw portrait of several infants engaging in processes of learning and cognition. Structuring her footage of these children to highlight their movements and senses, Brady suggests that they ‘might represent site[s] of embodied knowledge’, their engagement a heightened state. Brady’s montage of these children’s ‘primal choreography’ reminds us how we’ve all navigated a foreign world at one time, of learning landscapes anew is still within our capacities. Festival show that, by opening up to what’s around us, we have both the potential and the agency to be utterly changed by an unexpected event. As Lauren Berlant succinctly summarises Ashbery’s poem in her book Cruel Optimism: ‘Be open to the one who comes up to you. Be changed by an encounter.’ —Chloe Thorne and Herb Shellenberger

Chloe Thorne BA in Fine Art from Goldsmiths College. Herb Shellenberger has curated screenings at institutions Light Industry (Brooklyn), LUX (London), Molodist International Film Festival (Kiev) and Yerba Buena Center for the Arts (San Francisco). He is a recent graduate of the Central Saint Martins/LUX MRes Moving Image programme, and has Museum of Modern Art and Alternative Film/Video Research Forum (Belgrade). He will organise a series focused on American experimental animation of the 1970s-1980s at Tate Modern in 2017.

BERWICK NEW CINEMA

BERWICK NEW CINEMA Throbbing with innovation, risk and unbounded visual imagination, the Festival’s

three programmes borrowing their titles from the RGB colour model of RED, GREEN and BLUE, our jury of Shama Khanna, Sebastian Buerkner and Rehana Zaman will present the Berwick New Cinema Award in a short ceremony preceding Closing Gala El futuro perfecto.

Shama Khanna is a curator, educator and writer who curates Flatness Khanna has presented screening and discussion events relating to ‘Flatness’ at international venues including Oberhausen Film Festival, Germany; Chisenhale Gallery and The Showroom in London; Palais de Tokyo in Paris; Contemporary Art Gallery, Vancouver; Microscope Gallery, NYC; and Moderna Museet, commissions both independently and as part of organisations including The Showroom, E:vent, BFI London Film Festival and LUX / ICA Biennial of Moving Images in London, amongst other collaborations. She teaches at Kingston University and is an editor of Aorist, a new collective bi-annual publication.

Rehana Zaman is an artist working with moving image and performance. Her work considers the interplay of multiple social formations. These narrative based artworks, often deadpan and neurotic, are frequently generated through conversation and collaboration with others. Recent screenings and exhibitions include London Feminist Film Festival; Artist Moving Image Festival at the ICA, London; Contemporary Art Tasmania; The Irish Film Institute, Dublin; The Tetley, Leeds; Studio Voltaire; The Showroom selected for BFMAF 2015’s Short Film Awards Competition.

After studying sculpture at the University of Halle, Germany, Sebastian Buerkner moved to London. Since 2004, his art practice has been primarily animation. Buerkner’s recent residencies, solo shows include Q21, Museum Quartier, Vienna; Choi and Lager Cologne; Kunsthaus im Kunstkultur Quartier Nuremberg; Tramway, Glasgow; and The Showroom Gallery and screenings at the ICA; Tate Britain; Tate Modern, London; and

Chimera of M. won the Tiger Award for Shorts at the International Film Festival Rotterdam and Grand Prix at 25FPS, Zagreb. In the same year, he was commissioned to create a BBC 4 ident and was awarded a broadcast commission for Channel 4’s Random Acts. Rhinoceros with Berwick Film & Media Arts Festival for The Artist’s Cut, has its world premiere at BFMAF 2016.

BERWICK NEW CINEMA COMPETITION

BERWICK NEW CINEMA COMPETITION: RED

Friday 23 September | 3pm | Henry Travers Studio

A Boy Needs a Friend Steve Reinke

Canada, USA | 2015 | 22 | UK Premiere

and intimacy in A Boy Needs a Friend, in particular investigating the notion of queer Nietzschean friendship. Using his signature dry voice-over monologue to tie together an eclectic array of disparate images, ranging from found footage collages to digital animation and cell phone video, Reinke sets forth theories about the identity of Stephen King and Joyce Carol Oates, needlepoint doodles, the upsides of owning both U.S and Canadian citizenship, and the ability of corpses to have sex.

Steve Reinke is an artist and writer best known for his videos. His work is screened widely and is in several collections, including the Museum of Modern Art (New York), the Pompidou (Paris), and the National Gallery (Ottawa). His tapes typically have diaristic or collage formats, and his autobiographical voiceovers share his desires and pop culture appraisals with endearing wit. Born in a village in northern Ontario, he is currently associate professor of Art Theory & Practice at Northwestern University. Selected Filmography My Name Is Karlheinz Stockhausen (2010), Disambiguation (2009), Hobbit Love Is the Greatest Love (2007), Regarding the Pain of Susan Sontag (Notes on Camp) (2006) Loss (2002) Print/Sales Video Data Bank

A Boy Needs a Friend is part of The Genital is (2016), a collection of video essays, a stream of ongoing thoughts and provocative engagements. Final Thoughts it will be complete upon Reinkeâ&#x20AC;&#x2122;s death.

BERWICK NEW CINEMA COMPETITION

BERWICK NEW CINEMA COMPETITION: RED

is a Hanoi-based

Friday 23 September | 3pm | Henry Travers Studio

media artist. Her diverse practice has consistently investigated the role of memory in the necessary unveiling of hidden, displaced or misinterpreted histories; and examined the position of artists in the Vietnamese society. international relations and ethnographic

(Eleven Men) Vietnam | 2016 | 29 | World Premiere

Eleven Men is composed of scenes from a range of central actress, Nhu Quynh. Spanning three decades of her legendary acting career, most of the appropriated movies — from 1966 to 2000 — were produced by the state-owned Vietnam Feature Film Studio.

Eleven Sons, a short begins with a father’s declaration: ‘I have eleven sons’, then describes each one of them in acute and ironic detail. Transposing the father’s voice of Kafka’s eleven men’.

video art works have been shown at festivals and art exhibitions including Jeu de Paume, Paris; CAPC musée d’art contemporain de Bordeaux; the Lyon Biennale 2015; Asian Art Biennial 2015, Taiwan; Fukuoka Asian Art Triennial 2014; Singapore Biennale 2013; Jakarta Biennale 2013; Oberhausen International Film Festival; Bangkok Experimental Film Festival; Artist Films International; DEN FRIE Centre of Contemporary Art, Copenhagen; and Kuandu Biennale, Taipei. is founder and director of Hanoi DOCLAB, an independent center for art in Hanoi since 2009. Original Language Vietnamese with English subtitles Selected Filmography Vietnam the Movie (2016), Letters from Panduranga (2015), I Died for Beauty (2012), Unsubtitled (2011), Love Man Love Woman (2007) Print/Sales

BERWICK NEW CINEMA COMPETITION

BERWICK NEW CINEMA COMPETITION: RED

Friday 23 September | 3pm | Henry Travers Studio

Zikrayat Li Moufatish Khass

Rania Stephen Born in Beirut, Lebanon, graduated in Cinema Studies from Latrobe University, Melbourne, Australia and Paris VIII University, France. She has directed short and medium length videos,

Bitton (Rachel, Wall, Citizen Bishara) and Elia Suleiman (Divine Intervention); as well as cameraperson and editor for researchers in Social Sciences. The Three Disappearances of Soad Hosni (Artist’s

(Memories for a Private Eye) Rania Stephan

Prize: FID MARSEILLE International Cinema Festival; Best Filmmaker Award: Doha Tribecca Film Festival, 2011)

Lebanon, UAE | 2015 | 32 | UK Premiere

Memories for a Private Eye

Original Language Arabic, French and English with English subtitles

and traumatic memories.

absence lived? What remains of war, death and love with the passing of time? These are the questions that are delicately displayed for contemplation. Weaving together images from different sources – private archive, cinema, television, you-tube –

Selected Filmography SAMAR YAZBEK INTERVIEWED (2013), DAMAGE, for Gaza ‘The land of Sad Oranges’ (2009), Kimo the Taxi (2003), train-trains (Where’s the Track?) (1999), Attempt at Jealousy (1995) Credits Director/Writer/Editor/Sound Design: Rania Stephan Producer: Foundation Print/Sales Rania Stephan

labyrinthine maze to create a blueprint of witnessing and remembrance.

BERWICK NEW CINEMA COMPETITION

BERWICK NEW CINEMA COMPETITION: GREEN

Ashim Ahluwalia was born in Mumbai,

Saturday 24 September | 3pm | Henry Travers Studio

Events in a Cloud Chamber Ashim Ahluwalia India | 2016 | 23

In 1969, Akbar Padamsee, one of the pioneers of Events In A Cloud Chamber ran for six minutes and featured a single image of a was shipped to an art expo in New Delhi where it was misplaced. This was possibly the birth of experimental

A rare, spectral trace of India’s forgotten avant-garde cinema, Events in A Cloud Chamber now exists only in

Events in A Cloud Chamber (2016) is the result of their collaboration. As Padamsee, now 88 years old, looks back, what does he see? Does art stop aging and preclude death? Like extinct languages and deathbed confessions, Events in a Cloud Chamber is ultimately a ghost story, meditating on vanished art, mortality and the phantoms that we leave behind.

BERWICK NEW CINEMA COMPETITION

documentary, John & Jane, premiered at the Toronto Film Festival in September Miss Lovely had its world premiere in May 2012, in the Un Certain Regard section of the Cannes Film Festival. Ashim Ahluwalia’s non-conformist works, a middle ground between pulp and high art, have been displayed at other venues such as Tate Modern in London, Museum of Modern Art in New York and the Centre Pompidou in Paris. Ashim is currently completing his next feature, Daddy, a biopic on Mumbai’s most infamous gangster turned politician Arun Gawli, which is set for release in early 2017. He begins shooting an adaptation of the controversial novel The was named ‘one of the ten best emerging Press in ‘Take 100: The Future of Film.’ Selected Filmography Miss Lovely (2012), John & Jane (2005) Print/Sales Future East Film

BERWICK NEW CINEMA COMPETITION: GREEN

Saturday 24 September | 3pm | Henry Travers Studio

One.Two.Three Vincent Meessen

Vincent Meessen (born in Baltimore in 1971) completed his postgraduate studies at the HISK (Higher Institute for Fine Arts) in Antwerp. He is a founding member of Jubilee, a Brussels-based platform for research and artistic production. He represented Belgium at the 56th Venice Biennale in 2015 with the collective exhibition Personne et les autres. Original Language French and Kikongo with English subtitles

Belgium | 2016 | 35 | UK Premiere

In One.Two.Three, Vincent Meessen begins by circumventing the trap of Situationist mythology, in which Guy Debord has been consecrated as the hero and epicentre of a revolution. Instead, the work revisits a part of the history of this movement which has to date been ignored. The starting point for the work is the discovery, in the archives of the Belgian Situationist Raoul Vaneigem, of the lyrics to a protest song that Congolese Situationist Joseph M’Belolo Ya M’Piku composed in May 1968. Working with M’Belolo and young musicians in Kinshasa, Vincent Meessen has produced a new rendition of the song. The multi-coloured labyrinth of Un Deux Trois, the club that was once home to the world-famous OK Jazz orchestra led by Franco

Selected Filmography Patterns for (Re)cognition (2013), My Last Life (2011), Dear Adviser (2009) Credits Director: Vincent Meessen Producer: Normal DOP: Vincent Pinckaers Editor: Inneke Van Waeyenberghe Music: Judith Kadiela, Dolicia Keta, Rossety Mampuya, Huguette Tolinga, Claude Ndara Sound Design: Laszlo Umbreit Cast: M’Belolo Ya M’Piku and the voice of Raoul Vaneigem Print/Sales Jubilee

Congo, offers the perfect setting for a musical dérive. Against the background of Congolese rumba, threatened vernacular architecture and revolutionary narrative of unexpected meetings and one of the forms that resulted from it: M’Belolo’s song.

BERWICK NEW CINEMA COMPETITION

BERWICK NEW CINEMA COMPETITION: GREEN

Sophie Michael is a London based artist

Saturday 24 September | 3pm | Henry Travers Studio

The Watershow Extravaganza

and installation. She studied at the Slade School of Fine Art and the Royal Academy galleries internationally. Her latest solo exhibition, Trip (The Light Fantastic), continues until 30 October 2016 at Tate Britain, as part of the Art Now series. Selected Filmography Daphne (Purple Red) (2014), Attica (2013), The Astrid Series (2010-2014), Shaft/Ground (2009)

Sophie Michael

UK | 2016 | 16mm | 11 | World Premiere

The Watershow Extravaganza records the eponymous water-music-light attraction, which has been in operation at Watermouth Castle theme park in North Devon since the early 1980s. Installed in a childsized theatre, the performance synchronises a 1920s Mighty Mortier Organ with a water tray exhibited at laborious annual service, both the organâ&#x20AC;&#x2122;s paper roll and positions. Today this kind of performance of innocence seems absurd and nostalgic, and not entirely innocuous. Yet poignantly, the Watershow persists, like the out-of-date format it is captured on,

Multiple exposures mix neon colours and shots blindly alternate between dark and light, until the show is once pathetic, spectacular and slippery. BERWICK NEW CINEMA COMPETITION

Credits Director/Producer/DOP/Editor/Sound Design: Sophie Michael Print/Sales Sophie Michael/Seventeen Gallery

BERWICK NEW CINEMA COMPETITION: BLUE

Camilo Restrepo Born in Medellin (Colombia) in 1975. Has lived and worked in Paris since 1999. Member of L’Abominable, a cinematographic laboratory focused on the artistic uses of

Cilaos

Original Language Reunionese Creole with English subtitles

France | 2016 | 13 | UK Premiere

Selected Filmography La impresión de una guerra (2015), Como crece la sombra cuando el sol declina (2014), Tropic Pocket (2011)

Sunday 25 September | 12.45pm | Henry Travers Studio

Camilo Restrepo

To keep a promise she made to her dying mother, a young woman goes off in search of her father, a womanizer she has never met. Along the way, she soon learns that he is dead. But that doesn’t change

Carried by the spell-binding rhythm of the maloya, a ritual chant from Reunion Island, Cilaos explores the deep, murky ties that bind the dead and the living.

Credits Director/Writer: Camilo Restrepo Producer: GREC DOPs: Guillaume Mazloum, Camilo Restrepo Editors: Bénédicte Cazauran, Camilo Restrepo Sound Design: Mathieu Farnarier, Cast: Christine Salem, David Abrousse, Harry Périgonne Print/Sales GREC

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BERWICK NEW CINEMA COMPETITION: BLUE

Sunday 25 September | 12.45pm | Henry Travers Studio

Colossal Cave UK | 2016 | 10 | World Premiere

Excavated from the worldâ&#x20AC;&#x2122;s largest cave system, Colossal Cave is a love letter from the prehistory of the Internet.

BERWICK NEW CINEMA COMPETITION

(born 1991) is an artist living in London, raised in Cheshire, UK. His work explores issues of communication, spectatorship and history and has been presented at Courtisane Festival, Hamburg International Short Film Festival, Kasseler Dokfest, LUX, Institute of Contemporary Arts (ICA), Aesthetica Film Festival, Manchester Cornerhouse and on Vdrome. He graduated with a Masters in Experimental Cinema at Kingston University. Selected Filmography Asbestos (2016), Sitting in Darkness (2015), iâ&#x20AC;&#x2122;m sorry. i have to run (2014) Print/Sales

BERWICK NEW CINEMA COMPETITION: BLUE

Patrick Staff is an interdisciplinary artist

Sunday 25 September | 12.45pm | Henry Travers Studio

Dear Hester (Reversed) Patrick Staff

and performance to investigate dissent, labour and the queer body. Recent solo exhibitions have taken place at Chisenhale Gallery, London, UK; Spike Island, Bristol, UK; Institute of Modern Art, Brisbane, Australia; and Contemporary Art Gallery, Vancouver, Canada. Staff is currently part of British Art Show 8, which tours UK venues throughout 2016, and

UK | 2015 | 5 | World Premiere

at the Museum of Contemporary Art Los Angeles in 2017.

Dear Hester (Reversed) explores queer intergenerational relationships negotiated through historical materials.

Selected Filmography The Foundation (2014), A Factory as it Might Be (2012) Print/Sales Patrick Staff

performance artist Hester Reeve reversed and reedited to include a dialogue with the artist, through performance; image and prosthesis.

BERWICK NEW CINEMA COMPETITION

BERWICK NEW CINEMA COMPETITION: BLUE

Laure Prouvost was born in 1978 in Croix-Lille, France, and lives and works in London. She graduated from Central Saint Martins College of Arts in 2002. Her work, which includes painting, video,

If It Was

exhibited widely and solo exhibitions include the New Museum, New York in 2014, and Tate Britain 2013. Laure Prouvost won the Turner Prize in 2013, as well as being the principal prize winner at the 57th Oberhausen Film Festival also in 2013.

Sunday 25 September | 12.45pm | Henry Travers Studio

Laure Prouvost UK | 2015 | 9 | UK Premiere

Selected Filmography Lick in the Past (2016), Into All That Is Here (2015), We Will Go Far (2015), Wantee (2013), Burrow Me (2009)

If It Was exhibition at Haus der Kunst in Munich. The video muses on the museum itself and what it might become. As a montage of image and text continually interrupt each other a voiceover speculates about what Haus der Kunst would be like if it was her museum. What if the angles of the building were all a bit softer? What if one could take the roof off and have palm trees inside?

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Print/Sales LUX

BERWICK NEW CINEMA COMPETITION: BLUE

Lewis Klahr is a master collagist, making uniquely idiosyncratic cutout animations

Sunday 25 September | 12.45pm | Henry Travers Studio

Serrated Edge Lewis Klahr

USA | 2015 | 13 | World Premiere

Serrated Edge but, for circumstances (and pleasures) beyond our control, the screening didn’t go ahead. Flash

United States, Europe and Asia, including at The Museum of Modern Art, New York; the Whitney Biennial; the New York Film Festival; the Toronto International Film Festival; the Hong Kong International Film Festival; the London Film Festival; and the L.A. County Museum of the Arts. Klahr won a Tiger Award for Short Film at the International Film Festival Rotterdam 2010 and in 2013 was presented the Stan Brakhage Vision Award by the Denver Film Festival. ‘Klahr belongs to the lineage of

Circumstantial Pleasures had a new soundtrack, and trilogy from Klahr, as well as the centrepiece in a Zurich gallery exhibition. Deliciously Odyshape, like the very best of Klahr’s work - with an eighties soundtrack featuring a middle instrumental from 1973, plus eighties imagery composed from contemporary comic books - there’s nothing here that could be love in the summer of 2015 had left an indelible impression, and we’re indebted to Lewis’ trust in last screening of Serrated Edge. X marks the spot and, following this year’s Festival, Serrated Edge may become buried treasure.

- Peter Taylor, September 2016

Warhol and Cornell. Artists who also had with Classical Hollywood while forging permanent departures through radical form.’ - Mark McElhatten, curator, Views From the Avant-Garde, The NY Film Festival. both psychic scars and cultural remembrance.’ - J Doberman, Village Voice Selected Filmography Sixty Six (2015), The Pettifogger (2011), Downs Are Feminine (1993), Tales of the Forgotten Future Parts 1-4 (1983-1991) Print/Sales Lewis Klahr

BERWICK NEW CINEMA COMPETITION

BERWICK NEW CINEMA COMPETITION: BLUE

Sunday 25 September | 12.45pm | Henry Travers Studio

Some Shapes Without Edges Molly Palmer

Molly Palmer graduated from the Royal Academy Schools in 2016, where she won the Gold Medal. Recent exhibitions and screenings include RA Schools Show 2016, Royal Academy, London; Talk So I can See You, curated by Pil & Galia Kollectiv for the Czech Cultural Foundation; Premiums, Royal Academy, London; The Fade, touring solo show at CCA, Glasgow, Enclave, London and Torna, Istanbul; and Mono 5 at The Courtyard Theatre, Hoxton and

UK | 2016 | 12 | World Premiere

Selected Filmography The Fade (2013), Prime Number (2012)

Some Shapes Without Edges is an episodic video sequence about the mystery, complexity and absurdity of being human. How do we absorb and transform experiences that are funny, bewildering and beautiful - confusing, frightening or sad?

Print/Sales Molly Palmer

The stories are sentimental and comical, silly and serious. Two statues learn about friendship from identical twins dressed as curtains. A girl with a minute to think about walking up hills... Music, dance and gesture take over when words wonâ&#x20AC;&#x2122;t work. Small items grow huge and people shrink. The videos are set in a world where things follow a dreams and in our heads.

BERWICK NEW CINEMA COMPETITION

BERWICK NEW CINEMA COMPETITION: BLUE

Jenny Perlin

Sunday 25 September | 12.45pm | Henry Travers Studio

Tender Not Approved Jenny Perlin

USA | 2016 | 10 | World Premiere

Secret messages are present in the receipts you hold in your wallet right now. The codes, however, canâ&#x20AC;&#x2122;t be cracked.

after red, invisible to the human eye. In 1800, physicist and astronomer Sir William Herschel accidentally discovered infrared while conducting experiments with a prism and a thermometer. Hands describing, constructing, arranging. Spontaneous creations, untranslatable texts. These hands see what is invisible to me.

draw on interdisciplinary research interests in history, cultural studies, incorporate innovative techniques to investigate history as it relates to the digital video and combines live-action, staged, and documentary images with hand-drawn, text-based animation. Perlinâ&#x20AC;&#x2122;s work is in public collections including MoMA, Seattle Art Museum, the Five Colleges, MA, the School of the Art Institute of Chicago and numerous private collections. Galleries Annet Gelink, M+R Fricke and Simon Preston represent her work in Amsterdam, Berlin and New York. She is currently teaching at the University of Pennsylvania, the Cooper Union and The New School in New York. Selected Filmography Ending and Altered (2007), Sight Reading (2004), Perseverance & How to Develop It (2003), Dear Jim and Dick (1999), Nove Hranice/New Borders (1994) Print/Sales Jenny Perlin

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Maud Alpi (1980) is from the South of France. She studied philosophy at the École Normale Supérieure before directing Courir which screened at Indie Lisboa and ClermontFerrand in 2012, and her mid-length title Drakkar which made its international debut at the 2016 International Film Festival Rotterdam. Gorge Cœur Ventre is

Gorge Cœur Ventre (Still Life) Maud Alpi

France | 2016 | 82 | UK Premiere Sunday 25 September | 3pm | The Maltings Theatre & Cinema

spirit of both Robert Bresson’s Au Hasard Balthazar is Virgile, a drifter who can’t reconcile his meat consumption with his concern for the cows and pigs in the slaughterhouse where he’s working. However the vigilant eye of his dog Boston ultimately takes star billing and matches the unnerving beauty his fellow creatures. With a title that translates from French to English as Throat Heart Belly, Alpi’s approach is ‘savage and mournful yet bracingly humanistic. While it alludes to Dante’s Inferno, it pleasure that humans are capable of when they shed their shame.’ (Ela Bittencourt – Frieze). Gorge Cœur Ventre is an elegy for animals that is an absolutely compelling proposition.

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Original Language French with English subtitles Selected Filmography Drakkar (2015), Courir (2011), Nice (2009), Lucas sur terre (2007) Credits Director: Maud Alpi Writers: Maud Alpi, Baptiste Boulba Producer: Claire Trinquet, Frédéric Premel, Mathieu Bompoint DOP: Jonathan Ricquebourg Editors: Laurence Larre, Anne Gibourt, Romain Ozanne Set Design: Hervé Coqueret Cast: Virgile Hanrot, Dimitri Buchenet, Boston Awards Locarno International Film Festival 2016 – Swatch Art Peace Hotel Award Print/Sales MPM Film

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Philip Scheffner born 1966 in Homburg/ Saar, lives and works as an artist and Kröger, Alex Gerbaulet and Caroline Kirberg he runs the production platform pong. He took part in the Berlinale Forum with Havarie (2016), And- Ek Ghes... (2016), Revision (2012), Day of the Sparrow (2010) and The Halfmoon Files (2007).

Havarie

Philip Scheffner Germany | 2016 | 93 | UK Premiere Saturday 24 September | 4.45pm The Maltings Theatre & Cinema

Selected Filmography And-Ek Ghes... (2016), Revision (2012), Day of the Sparrow (2010), The Halfmoon Files (2007), A/C (2003)

The coordinates 37°28.6’N and 0°3.8’E mark a point in the Mediterranean – 38 nautical miles from the port city Cartagena in Spain or 100 nautical miles from the Algerian port city Oran – depending on the narrator’s perspective. On 14th September 2012 at 2:56pm, using these coordinates, the cruise liner Adventure of the Seas reported to the Spanish Maritime Rescue Centre the sighting of a dinghy with 13 persons on board.

Credits Director/Editor: MPhilip Scheffner Writers: Merle Kröger, Philip Scheffner Producers: Merle Kröger, Caroline Kirberg DOPs: Terry Diamond, Bernd Meiners Sound Design: Volker Zeigermann, Alexander Gerhardt, Philip Scheffner Print/Sales

Cartagena port authorities, the rescue cruiser Salvamar Mimosa and the helicopter Helimer 211 cinematic space contracts to a single, unedited sequence arching over the total duration of the condensation of the situation in the Mediterranean. In single frames, the dinghy becomes an icon of the daily news images we are forced to watch.

present and future of the voyagers: will another, new, potential space become visible when they meet again, in a cinematic space?

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Brett Story is a writer and independent

The Prison in Twelve Landscapes Brett Story

Canada | 2016 | 86 Friday 23 September | 5.15pm | The Maltings Theatre & Cinema

The Prison in Twelve Landscapes about the prison in which we never see an actual penitentiary. A meditation on the prisons disappearance in the era

Land of Destiny (2010), screened internationally and was broadcast on both Canadian and such outlets as CBC Radio, the Nation Magazine, and the Toronto Review of Books. Since 2012, Story has been part of the critically acclaimed HIGHRISE the National Film Board of Canada. She was the recipient of the Documentary Organization of Canada Instituteâ&#x20AC;&#x2122;s 2014 New Visions Award, is an alumna of the Berlinale Talents Doc Station (2014) and was a nominee for the 2015 Ontario Premierâ&#x20AC;&#x2122;s Awards for Excellence in the Arts. Brett holds a PhD in geography from the University of Toronto and is currently a postdoctoral research fellow at the Center for Place, Culture and Politics at the City University of New York Graduate Center.

USA where prisons do work and affect lives: from a

Selected Filmography Land of Destiny (2010)

Bronx full of goods specially produced to meet the arcane regulations of the state correctional system, to an Appalachian coal town betting its future on the

Credits Director/Producer/Writer: Brett Story Cinematographer: Maya Bankovic Editor: Composer: Olivier Alary Sound Design: Simon Gervais Print/Sales Brett Story/Oh Ratface Films

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Dane Komljen, born in 1986 in SFR Faculty of Dramatic Arts, Serbia and contemporary art at Le Fresnoy, France. awarded at the Festival de Cannes, Festival del Film Locarno, IFF Rotterdam,

Svi severni gradovi

Center in New York. All the Cities of the North

(All the Cities of the North)

Serbia, Bosnia and Herzegovina, Montenegro 2016 | 100 | UK Premiere Sunday 25 September | 5pm | The Maltings Theatre & Cinema

A single, white room, a blue tent inside, where two men share a relationship for which there are no words. Boban and Boris live within a set of almost identical abandoned bungalows, in the midst of stray donkeys, plastic bottles and red berries; reed beds, tall trees and transient workers. Someone else enters this secluded space and its patterns are disturbed. The world outside arrives and brings stories of other times, of cities to the north and south, of how something is made. New bonds form and old ones shift. Love can be fragile when not given a name. No, don’t call me ‘comrade’. What should I call you, then?

Original Language Serbo-Croatian with English subtitles Selected Filmography All Still Orbit (2016), A Surplus of Wind (2014), Bodily Function (2012), I Already Am Everything I Want to Have (2010) Credits Director/Writer: Producers: DOP: Ivan Markovic Editors: Sound Designers: Igor Camo, Simon Apostolou Cast: Print/Sales Dart Film Production

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An Early Clue To The New Direction:

Queer Cinema Before Stonewall

Flaming Features

Douglas Crimp talks with Thomas Beard AN EARLY CLUE TO THE NEW DIRECTION: QUEER CINEMA BEFORE STONEWALL.

(1931)

In April 2016, the Film Society of Lincoln

Douglas Crimp: You talked to me about the “Queer Cinema Before Stonewall” series well before your recent appointment as programmer at large for the Film Society of Lincoln Center. It’s a wonderfully queer idea, what you’re doing, mixing mainstream Hollywood with independent cinema. To understand queer cinema you have to do that. obsessed with Hollywood.

Center in New York presented An Early

Clue to the New Direction: Queer Cinema Before Stonewall curated by the FSLC’s programmer at large, Thomas Beard.

Artforum invited art historian and critic Douglas Crimp to speak with Beard about the series’ revisionist take on queer cinema before the gay liberation movement.

Thomas Beard: Absolutely. I think that the only way to organize a series like this is to operate with an

BECAUSE, OF COURSE, EVEN THE PHRASE “QUEER CINEMA” IS A WILLFUL ANACHRONISM WHEN USED TO DESCRIBE THE PERIOD BEFORE GAY LIBERATION.

To celebrate a selection from the larger retrospective’s international debut at Berwick Film & Media Arts Festival, we are grateful for the opportunity to republish their conversation.

DC: It’s interesting that you say “before gay liberation” rather than “before Stonewall.” TB: The use of Stonewall as a fulcrum is, on some level, arbitrary here. Obviously, there are many other crucial episodes in the history of gay and trans liberation that predate Stonewall—like the Compton’s Cafeteria riot in San Francisco in 1966.

FLAMING FEATURES: THOMAS BEARD

the 1970s, and which continues through the present 1969 a reasonable endpoint for the series. DC: Stonewall is such a convention at this point that we can’t not use it. At the same time, every time we use it, we reinforce the convention. Many historians are working to complicate the myth of Stonewall as an absolute divide between the notion of queerStonewall. That’s something I imagine you want to do too. recognize as “gay” rather than “queer”? Who do you think of as the immediate post-Stonewall gay

Victim [1961] and the Weimar-era Different from the Others [1919], They made the case for changing the laws against homosexuality. TB: Victim artful one at that. And it would seem to have been politically successful, since sodomy laws in Britain were repealed later that decade. As it happens, Different from the Others by Outfest and UCLA, so we’re aiming to present the new restoration as a special screening this summer, as a kind of coda to the series. DC: You came of age at a time when gay cinema

TB: Well, in the German New Wave alone you have Rainer Werner Fassbinder, Ulrike Ottinger, Rosa von Praunheim, and Werner Schroeter. But I think there’s also a continuity. Consider James Bidgood’s Pink Narcissus, which began production years before Stonewall but was only released shortly after it related to the earlier stylings of George Kuchar. The political event of Stonewall does not in and of itself is followed by, say, The Boys in the Band [1970]. DC: Although Boys in the Band is a pre-Stonewall stage play. TB: True. But although the divide isn’t clear-cut, the ’70s are still legible to me as a distinct moment: the era of Dyketactics [1974], of Je tu il elle [1976], of Nighthawks [1978]. However, hinging on Stonewall means we’re also thinking of a very Western idea of what constitutes gay liberation. That’s something else that’s been on my mind as I’ve organized the series. DC: Last night I was talking to my friend Henry Abelove, who’s working on a book on gay liberation, and he remarked that

A BETTER DIVIDE, PERHAPS, IS THAT BETWEEN GAY LIBERATION AND THE GAY RIGHTS MOVEMENT, WHICH HELPS TO CONSOLIDATE A GAY IDENTITY.

By 1977, you have a gay rights document like Nancy and Peter Adair’s Word Is Out, which could not have been made before Stonewall. Although certain

your interest in this earlier history. TB: Though I came of age after the arrival of the New Queer Cinema, like you I also had something of a provincial upbringing—in my case, in small-town South Carolina. I vividly remember seeing, quite by The Celluloid Closet [1995], narrated by Lily Tomlin, on TV. I was by myself in the living room, and I sort of looked around—you know, to make sure this was real, that a topic was being discussed so plainly on the screen that, at the time, I couldn’t even speak of. DC: TB: I was.

I WAS A TEEN CINEPHILE.

My access was very limited. It was basically the public library and a tiny art-house cinema in Columbia, the big city. So The Celluloid Closet was a revelation, and there was this frisson—this tremendous rush of excitement—simply from watching these images at all, but I also remember being a little depressed by what I saw. A tree falling on Sandy Dennis and things of that nature. I watched Hitchcock’s Rope featured in the Lincoln Center show, after that. I’d never seen a movie so drenched in innuendo. Rope suggestion of homosexuality, but because, being based on the Leopold and Loeb case, it was also a movie about the triumph of desire over moral And then, when I went to college, my view onto teenager, I remember feeling this hunger to belong. I wanted to locate a political history that felt invisible to me. Watching things like Kenneth Anger’s Fireworks the somewhat-neglected critic Parker Tyler only fed

FLAMING FEATURES: THOMAS BEARD

studies of the history of gay and lesbian cinema, by Richard Dyer and Vito Russo [who wrote the book The Celluloid Closet: Homosexuality in the Movies (1981)] and Patricia White [author of Uninvited: Classical Hollywood and Lesbian Representability (1999)], among others. So in a way I began researching “An Early Clue to the New Direction” when I was an undergrad, because all of those

demimonde, too queer for the cadres. And Marc Siegel has considered Robert Wade Chatterton’s Passion in a Seaside Slum [1961] very thoroughly,

those books. But even so, I felt that the early history of queer cinema was something I very much had to fashion myself, from numerous sources.

on Rope or Lee Edelman on Otto Preminger’s Laura [1944]?

otherwise. DC: To what extent did queer theoretical texts, beyond the more historical overviews like Dyer’s,

TB: The Rope essay I remember from school. Queer theoretical texts have certainly shaped the series, but not in ways that I can immediately identify. Maybe that tradition surfaces in my seeking to

DC: There is no single work that really does that. TB: Each of those books covers quite a lot of material, but each has its own focus. Reading Russo, for instance, you get references to seemingly every appearance of a sissy stock character like Franklin Pangborn, but less of a focus on, say, underground cinema.

malleable concept, conditioned by history, that never exists outside of ideology. DC: And when did you come across Boyd McDonald’s book Cruising the Movies [1985]?

Tyler, in Screening the Sexes: Homosexuality in the Movies [1972], has a much more idiosyncratic approach. So he writes about Warhol’s My Hustler [1965], but his aim is not to be comprehensive. Dyer’s focus, meanwhile, is more on what Gregg Bordowitz, via Raymond Williams, called “queer structures of feeling,” an “articulation of presence forged through resistance to heterosexist society.”

TB: Probably not long after I moved to New York. And if you want to talk about how a

My Hustler (1965)

Vingarne [1931] and Jean [1916] and Genet’s Un chant d’amour [1950]. In that context, gay and lesbian cinema is understood as one with gay and lesbian authors, about gay and lesbian

McDonald shows us that sexual hunger combined with a lacerating critical intelligence can take movies you wouldn’t think at all to be queer and reveal them as homophile cinema par excellence. He’s

perspicacious—and funny—critic. No one else has talked about the contemptuousness of Gloria Grahame in such elegant terms. He often makes fun of the pedestrian blurb writers at the Times and how they miss what’s so valuable in a movie.

books, I realize that I’ve included a number of works in the program that don’t appear in any of them.

DC: Here he is on Michael Callan: “The author of the Times’s listing for The Flying Fontaines, unable to appreciate the beauty of Michael’s butt, sought

DC: me.

it ‘the old story.’ Homosexuals get more out of watching a movie (or walking down a street); hence the title of my book, Cruising the Movies.”

TB: sustained critical attention. Lupe [1966] by Jose Rodriguez-Soltero is a good example, the work of caught between two worlds: too political for the gay

FLAMING FEATURES: THOMAS BEARD

TB: everywhere apparent in Cruising the Movies, is that a queer spectator is always already prepared to read

a work against the grain. Any conception of queer cinema that doesn’t take a viewer like McDonald’s into account is an impoverished one. And as William E. Jones notes quite rightly in his illuminating essay for the new edition of Cruising the Movies, McDonald’s is also a kind of anti-auteurist enterprise. Directors are barely there in Cruising the Movies, so the idea that they are somehow the

programmer. One of the heartening things about working on this show is that even though there are roughly thirty different programs, so much had to be cut out. It’s

As I began to assemble the lineup, I recalled a a sort of auteur fatigue. And I understood exactly what he meant, because the dominant model of continues to be, single-director surveys. Though he that model leaves out. It made me realize that you would never have a Barbara Loden retrospective or a Jean Genet series, because even though both of to the history of cinema, they essentially made

disproportionately women and people of color. transversal perspectives would allow not simply for a diversity of curatorial approach but for diversity in the kinds of work you’d end up showing. So it was important to me that this series look back on early queer cinema from above, from below, from the art house in between.

I WANTED TO SHOW HOW THE HOMOEROTIC IMAGINATION FOUND A FORM IN HOLLYWOOD, but also in the avant-garde and even in other, home movies.

Framing the series this way hopefully encourages audiences to watch works together that one typically wouldn’t. And since the program unfurls more or less chronologically, it gives people a chance to see what’s coming up from underground in New York relative to concurrent studio offerings. DC: I hope that people will see program after

Salomé [1922] or Lot in Sodom [1933] in relation to George Cukor’s Sylvia Scarlett [1935] is really important.

But I want to come back to where we started. This capaciousness of “queer” stands in contradistinction to the narrowness of “gay.” One of the problems with the current gay movies that you see in LGBT with the consolidation of gay identity. The result is characters, often simply transposing gay characters into straight genres. TB: That assessment is, I’m afraid, spot-on. Is it wrong to say that one of the hidden costs of mainstream visibility for LGBT folks and acceptance by the state, in the form of gay marriage, is the erasure of a complex and thoroughly elaborated history of sensibility? I don’t want to be nostalgic about it—like, “Oh, wasn’t it so great when sodomy was illegal?”—but one of the things that I want this series to do is to show people that the ways in which we might understand queer cinema are many and varied, that desire can be articulated in surprising and manifold ways, version of, you know, Gone with the Wind. I hope we will introduce some truly extraordinary work to audiences who might not otherwise ever see Lot in Sodom or Gregory Markopoulos’s Twice a Man [1963] La princesse Mandane [1928]. DC: When you talk about the cost of gay identity’s broad acceptance, the cost that I’m most aware of is sex itself. We have identity, but we no longer have queer sex. Sex has become closeted—promiscuous sex, kinky sex, sex outside the bedroom of a “committed, loving couple.” When sodomy was illegal—and let’s not forget that miscegenation was also illegal, as was adultery—the laws were about unacceptable sexual relations and kinds of sex, not about identity. TB: made their way into the series are very much about sex, if not in a traditional way. In Fireworks, Anger wants to get beaten up by hot sailors, or at least he oneiric. In My Hustler, a fascinating game of erotic competition and speculation plays out in a way that

PEOPLE WANT A LOT OF DIFFERENT THINGS IN THESE MOVIES WE’RE SHOWING. THERE IS NOT ONE IDEAL BODY. THERE IS NOT AN IDEAL ROMANCE. FLAMING FEATURES: THOMAS BEARD

DC: There are things like Taylor Mead’s sissy faggotry in—

centers on an erotic triangulation between a famous

TB: In Passion in a Seaside Slum. I’m glad you brought up Mead, because his presence in that movie highlights another important aspect of the series. Susan Sontag memorably described Mead as a “consumptive, faggot Harry Langdon,” and it’s a perceptive characterization, I think, because his particular brand of underground clowning owes much to the comic vocabulary of the silent era. So in addition to charting a course through both Hollywood and the underground, I also want the program to illuminate the strange afterlife of

Vingarne and Richard Oswald’s Different from the Others are also interesting in that they only exist now in fragments. For Vingarne, the original materials

princess.

known copies of Different from the Others around these movies very moving, because they suggest the gaps in queer cinema’s narrative more broadly. bears the scars of its political history; the absences become, somewhat paradoxically, a record of social deletion. Also, curiously enough, the sexologist Magnus Hirschfeld, who was heavily involved with the production of Different from the Others, is in the air again. There’s a subplot in the current season of Amazon’s Transparent that takes place in a decadent rendering of his Institut für Sexualwissenschaft. You don’t normally expect a

Take Alla Nazimova’s Salomé, which at times was percieved as being, in Anger’s indelible

Laughter.] It’s very much a product of primeval Hollywood, a movie from another age, yet its aesthetic program, from the expressive mise-en-scène to the way the certainly in Anger’s. DC: Yvonne Rainer’s choreography for Valda Lives of Performers [1972] is her version of Nazimova’s dance of the seven veils. in the series that I don’t know, especially very early ones such as Algie, the Miner [1912] and A Florida Enchantment [1914]. Can you talk about the silent

TB: The earliest piece in the series is The Dickson Experimental Sound Film [1894 or 1895], a picture

W. K. L. Dickson playing a violin while two men dance with each other, and even though this is almost

Oliva (1951) a productive bit of fantasy, was an occasion for them to see themselves in the movies, and at the medium’s very inception.

DC: What about the title of your series? I know Andrew Meyer’s Match Girl but not his An Early Clue to the New Direction [both 1966], the title of which you’ve borrowed.

Algie, the Miner hundred years before Brokeback Mountain. It’s about a fey bachelor who can’t wed his beloved until he butches up, and so he’s sent out west to learn how to be masculine. There’s a lot of prancing about

TB: And Meyer, in turn, borrowed the phrase from A Hard Day’s Night. An Early Clue features a notable cast: Prescott Townsend, who was an early gay rights activist in Boston, the cult actress Joy Bang, and a young Rene Ricard, who is rather of interest to My Hustler,

And Vingarne was made in Sweden by Mauritz Stiller, who was a fag voluptuary of the Stockholm

movies is exemplary; both are animated by an attention. And Meyer was an artist in Warhol’s orbit,

novel Mikaël—also the source material for Dreyer’s Michael [1924], which we’re showing as well—and it

Flaming Creatures

FLAMING FEATURES: THOMAS BEARD

[1963], but there’s also an opportunity here to foreground overlooked deep cuts of underground cinema. DC: out? TB: There’s Mona’s Candle Light, which is a home movie made in a San Francisco dyke bar in the

Mizer seemed like a nice pairing with The Queen—a 1968 documentary about a transvestite pageant in New York the preceding year—because they present two different types of beauty contests, each simultaneously delighting in and parodying ideals of masculinity and femininity, respectively. DC: I remember The Queen very well, seeing it when it came out. TB: Whoa, really?

kinds of things that are usually left out of repertory represent are vital to any thorough understanding of cinema. We’re showing Mona’s Candle Light Jacqueline Audry’s Olivia [aka The Pit of Loneliness, 1951]. So you have this big-screen depiction of sapphic longing prefaced with a reel that displays how lesbians were actually living their lives and representing themselves in a day-to-day way. It’s a point of comparison one doesn’t often have the opportunity to make.

No Help Needed, a fragment of lesbian porn from around 1940, is something Jenni Olson tipped me off to. It’s actually from her personal collection. DC: Who is she? TB: Francisco. The Case of Mr. Lynn therapy session from the mid-’50s with a troubled homosexual, also comes from her. She urged me to show No Help Needed when we corresponded about the series, pointing out that pornography was, To leave it out would be to turn a blind eye to a not-

DC: New York. TB: Moviegoing is really important in relation to so exhibition histories, you see how a number of them are shaped by scandal, none more so perhaps than Flaming Creatures, which was back in the news recently. The prosecutor who argued vociferously apologized to him, essentially saying that he was wrong in trying to make the case for its obscenity. There was a whole Times article about it. And Jonas, my hero, played the angles brilliantly, suggesting the lawyer atone by doing some pro bono work for Anthology. [Laughter.]

NOW, FIFTY YEARS LATER, THE FLAMING CREATURES ARE WELCOMED UPTOWN—AT LINCOLN CENTER, NO LESS.

We owe a tremendous debt to people like Jenni, and the late Mark Finch, who worked with her as alive in the public memory by screening them, collecting them, preserving them. The legacy of these movies certainly doesn’t sustain itself.

Thomas Beard is a founder and director of Light Industry, and he has also organized screenings elsewhere for Artists

DC: Does this bring up the question of porn’s place in an early queer cinema series, since porn has existed TB: to select some... representative instances. And I in particular—because they evince a remarkable in the face of limitations, legal or otherwise.

Archive, the Centre Pompidou, the Museum of Modern Art, the 2012 Whitney Biennial and the 2010 edition of “Greater New York” at MoMA PS1. He has written for Artforum, The Believer, Film Comment, frieze, Texte zur Kunst, and Triple Canopy in addition to currently teaching in the art writing MFA program at the School of Visual Arts. Douglas Crimp is Fanny Knapp Allen Professor of Art History at the University of Rochester. He is the author of On the Museum’s Ruins and Melancholia and Moralism: Essays on AIDS and Queer Politics, both published by the MIT Press.

FLAMING FEATURES: THOMAS BEARD

Vingarne

Mauritz Stiller Stiller (1883-1928) was one of Swedish

Sweden | 1916 | 35mm | 50 Saturday 24 September | 1pm | The Maltings Theatre & Cinema

still considered some of the earliest masterpieces of Scandinavian cinema. His Erotikon (1920) is often cited as a key Smiles of a Summer Night (1955). After travelling with Greta Garbo to launch her American

Mauritz Stiller

The rarely screened Vingarne deal more or less explicitly with a gay relationship. Based on the novel Mikaël by Danish author Herman Bang, it tells the story of an ageing sculptor and his love triangle, with the old master growing increasingly desperate at his young charge’s infatuation for a countess. To cater to her taste for extravagant meals and lavish gowns, the youngster spends the money of his ‘adoptive father’, whose feelings nevertheless remain undiminished despite being let down by the

The story’s erotic drama, with its delightful play of ancient myth and urban modernity, is framed by a prologue and epilogue (now lost) in which Stiller

and read reviews in the press afterwards.

Hollywood feature, The Temptress (1926), and returned to Sweden where he died shortly after. Original Language Silent with Swedish inter-titles and English soft-titles Selected Filmography Gösta Berlings saga (1924), Erotikon (1920), Herr Arnes pengar (1919), Sången om den eldröda blomman (1919), (1917) Credits Director: Mauritz Stiller Writers: Mauritz Stiller, Axel Esbensen Producer: AB Svenska Biografteatern DOP: Julius Jaenzon Art Directors: Axel Esbensen Cast: Egil Eide, Lars Hanson, Lili Bech, Albin Lavén Print/Sales Svenska Filminstitutet

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Le sang d’un poète

Jean Cocteau A true artist of the cinematic form, Jean Cocteau (1889-

Jean Cocteau

France | 1931 | 35mm | 50 Saturday 24 September | 3pm | The Maltings Theatre & Cinema

‘Poets shed not only the red blood of their hearts but the white blood of their souls,’ proclaimed exploration of the plight of the artist, the power of metaphor and the relationship between art and dreams. One of cinema’s great experiments, this medium to its limits in an effort to capture the poet’s obsession with the struggle between the forces of life and death. Le sang d’un poète remains a richly imaginative allegory of aesthetic invention in which

an unparalleled dream world. A poet, novelist, playwright and painter: all of from the prewar, avant-garde, surrealist Le sang d’un poète to the fairy-tale masterpiece La belle et la bête to the Jean-Pierre Melville collaboration Les enfants terribles and the contemporary takes on classical mythology, Orphée and Le testament d’Orphée. Original Language French with English subtitles Selected Filmography Le testament d’Orphée, ou ne me demandez pas (1960), Orphée (1950), Les parents terribles (1948), L’aigle à deux têtes (1948), La belle et la bête (1946) Credits Director/Writer/Editor: Jean Cocteau Producer: Le Vicomte de Noailles DOP: Georges Périnal Production Design: Jean d’Eaubonne Composer: Georges Auric Costume Design: Coco Chanel Cast: Enrique Rivero, Elizabeth Lee Miller, Jean Desbordes, Féral Benga, Jean Cocteau Print/Sales BFI/StudioCanal

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Mädchen in Uniform Leontine Sagan

Germany | 1931 | 16mm | 88 Sunday 25 September | 5pm | Henry Travers Studio

Starring an all-female cast, is an enduring classic of lesbian cinema. Manuela, a sensitive new arrival at a school for the daughters the wrath of the headmistress, pitiless martinet

as a nuanced parable of authoritarianism, yet it’s also a moving portrait of burgeoning sapphic desire, rendered with great technical skill. ‘With this work Sagan, a stage-actress, directed the dialogue

cracked voice of the adolescent.’

Leontine Sagan (1899-1974) spent her childhood in South Africa before returning to her native Austria in 1910, where she became a successful theatre actress a success but was later banned and forgotten until its rediscovery in the 1970s. In 1932, she emigrated to England where (now lost) for Alexander Korda. She later moved back to South Africa and devoted the rest of her life to her work with the National Theatre in Johannesburg. Original Language German with English subtitles Selected Filmography Gaiety George (1946), Men of Tomorrow (1932), (1931) Credits Director: Leontine Sagan Writers: Christa Winsloe, FD Andam Producers: Carl Froelich, Friedrich DOPs: Reimar Kuntze, Franz Weihmayr Editor: Oswald Hafenrichter Composer: Hanson Milde-Meissner Art Directors: Fritz Maurischat, Friedrich Winkler-Tannenberg Sound Design: Karl Brodmerkel, Fritz Stiller Cast: Emilia Unda, Dorothea Wieck, Hedwig Schlichter, Hertha Thiele, Ellen Schwanneke Print/Sales BFI/Beta Cinema

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Un chant d’amour

Jean Genet (1910-1986) was a criminal and social outcast turned writer who, as a novelist, transformed erotic and often

Jean Genet

France | 1950 | 35mm | 26 Saturday 24 September | 3pm | The Maltings Theatre & Cinema

Un chant d’amour moments of great tenderness despite the wall that divides them. The plot is set in a French prison, where a prison guard takes voyeuristic pleasure in observing the prisoners perform masturbatory sexual acts.

man and a handsome convict in his twenties: the older man in love with the younger one, rubbing himself against the wall and sharing his cigarette smoke with his beloved through a straw.

vision of the universe. As a dramatist, he novel, Notre-Dame des Fleurs (1943), while imprisoned for theft at Fresnes. After two further novels, he began to experiment with drama, eventually producing landmark works of theatre such as Les Bonnes (1947), Le Balcon (1956) and Les Paravents (1961). Credits Director/Writer/Editor: Jean Genet Producer: Nico Papatakis DOP: Jacques Natteau Cast: Lucien Sénemaud, Java, Coco Le Martiniquais, André Reybaz Print/Sales BFI/Jacky Maglia

viewer to completely focus on close-ups of faces, armpits, and semi-erect penises. With its highly later directors, including Andy Warhol. Because of its eventually disowned by Genet in the 1970s.

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Olivia

Jacqueline Audry France | 1951 | 35mm | 94 Thursday 22 September | 5pm | The Maltings Theatre & Cinema

‘Olivia offered hothouse lesbian passion in an upper class French girls’ school,’ wrote Vito Russo in The Celluloid Closet, his classic account of homosexuality the Fifties. It featured dark doings in school corridors and ended in the obligatory tragic circumstances. American censors assured the delicacy of treatment for which Pit of Loneliness was touted. One censor’s notation read: “Eliminate in Reel 5D: Scene of Miss Julie holding Olivia in close embrace and kissing her on the mouth. Reason: Immoral, would tend to corrupt morals.”’

Jacqueline Audry (1908-1977) once described her work as ‘a defense of Woman as a human being but also in terms of her femininity’. What set Audry apart from mainstream French cinema of with a consistent interest in transgressive women protagonists. Despite several plagued with setbacks; however, her focus on women alone was exceptional in French cinema and her achievement of making eighteen features in a career spanning four decades can now be seen as remarkable. Original Language French with English soft-titles Selected Filmography Fruits amers - Soledad (1967), La garçonne (1957), Huis-clos (1954), Gigi (1949) Credits Director: Jacqueline Audry Writer: Colette Audry, Pierre Laroche; based on the novel by Dorothy Bussy aka ‘Olivia’ Producers: Jacqueline Audry, Jean Paris DOP: Christian Matras Editor: Marguerite Beaugé Composer: Pierre Sancan Production Design: Jean d’Eaubonne Sound Design: Jo de Bretagne Cast: Edwige Feuillère, Simone Simon, Yvonne de Bray, Suzanne Dehelly, MarieClaire Olivia, Marina de Berg Print/Sales

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Victim

Basil Dearden (1911-1971) was Ealing

Basil Dearden UK | 1961 | 35mm | 101 Friday 23 September | 3pm | The Maltings Theatre & Cinema

‘It is extraordinary,’ Dirk Bogarde recalled in his autobiography, ‘in this over-permissive age, to

his career during the Second World War. His early work espoused a faith in an organic notion of society, celebrating the virtues of public service and civic responsibility. However, Dearden and his longtime producing partner Michael Relph’s most important work from the late 1940s to the early 1960s was a series of issues as rapprochement with Germans,

considered courageous, daring or dangerous to make. It was, in its time, all three.’ Shot in the wake of 1957s Wolfenden Report, a hotly debated government study that recommended the decriminalisation of same-sex relations in Britain, Victim is a supremely

Taking the shape of a detective story, it concerns a closeted barrister who becomes embroiled in a blackmailing scheme targeting gay men, prompting him to take on the extortionists despite the cost commercial production in the UK to fully address homosexuality, Victim is a social landmark, yet its reverberations can be felt still further across particular, on a then-teenage Terence Davies.

disaffected youth, race, homosexuality and religious tolerance. Selected Filmography The League of Gentlemen (1960), The Blue Lamp (1950), Frieda (1947), The Captive Heart (1946), The Halfway House (1944), The Bells Go Down (1943) Credits Director: Basil Dearden Writers: Janet Green, John McCormick Producer: Michael Relph DOP: Otto Heller Editor: John D Guthridge Composer: Philip Green Art Director: Alex Vetchinsky Sound Design: Les Wiggins Cast: Dirk Bogarde, Sylvia Syms, Dennis Price, Nigel Stock, Peter McEnery, Donald Churchill Print/Sales Park Circus

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Scorpio Rising

Kenneth Anger (born 1927) is an American underground experimental

USA | 1963 | 16mm | 31 Sunday 25 September | 3pm | Henry Travers Studio

almost forty works since 1937, nine of which have been grouped together as the ‘Magick Lantern Cycle’. Anger has been described as ‘one of America’s

Kenneth Anger

A fetishistic opera of sex and death from a high priest of queer experimental cinema, Anger’s parodic yet empathetic recasting of popular consumer culture sees rival biker gangs evoke the bygone spirit of the mythic American cowboy.

subculture, homosexuality, Catholicism, and Nazism; the era, namely James Dean and Marlon Brando (referred to by Anger as Byron’s ‘heroes’). Like dialogue; instead it features a prominent soundtrack consisting of 1960s pop, including songs by Ricky Nelson, The Angels, The Crystals, Bobby Vinton, Elvis Presley, and Ray Charles.

homosexuality in an undisguised, selfimplicating manner’. He has also focused being fascinated by the English poet and mystic Aleister Crowley, and is an adherent of Thelema, the religion Crowley founded. Selected Filmography Hollywood Babylon (2000), Lucifer Rising (1980), Kustom Kar Kommandos (1965), Inauguration of the Pleasure Dome (1954), Fireworks (1947) Credits Director/DOP/Editor: Kenneth Anger Writer: Ernest D. Glucksman, Kenneth Anger Producer: Ernest D. Glucksman Composers: Jack Brooks, David Raksin Art Direction: Jeremy Kay Cast: Bruce Byron, Johnny Sapienza, Print/Sales BFI

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Flaming Creatures

Jack Smith (1932-1989) was an

Jack Smith

USA | 1963 | 16mm | 43 Sunday 25 September | 3pm | Henry Travers Studio

Jonas Mekas, along with Ken and Flo Jacobs, was arrested for screening Flaming Creatures in 1964, and the obscenity case that followed would become a central episode of the New American Cinema.

etherealized by the outdated stock they were shot on, feature the extravagantly costumed voluptuaries of the title as they dance, preen, and, most strikingly, take part in a pansexual mock orgy. ‘Flaming Creatures is that rare modern work of art: it is about themes which are—by ordinary standards—perverse,

of underground cinema. He is generally acclaimed as a founding father of American performance art, and has been critically recognized as a master photographer, though his photographic works are rare and remain largely unknown. The most famous (and arguably the most notorious) of Smith’s productions is Flaming Creatures (1963), a satire of Hollywood B movies and tribute to actress Maria Montez, who starred in many such productions. Selected Filmography No President (1967), Normal Love (1963), Overstimulated (1963), Scotch Tape (1963), Buzzards Over Bagdad (1951) Credits Director/Writer/Producer/DOP/Editor: Jack Smith Sound Design: Tony Conrad Cast: Francis Francine, Sheila Bick, Joel Markman, Judith Malina, Dolores Flores, Marian Zazeela Print/Sales LUX

beauty and its modernity.’

AN EARLY CLUE TO THE NEW DIRECTION: QUEER CINEMA BEFORE STONEWALL

My Hustler Andy Warhol

Andy Warhol (1928-1987) was an American artist whose works explore the relationship between artistic expression, celebrity culture and advertisement that

USA | 1966 | 16mm | 67 Saturday 24 September | 5.15pm | Henry Travers Studio

exhibitions, books, and feature and

Andy Warhol’s My Hustler is a kind of underground

Museum is the largest museum in the United States dedicated to a single artist. His works include some of the most expensive paintings ever sold.

attention. The prize of this competition is studly Factory denizen Paul America, who plays a sex worker on the clock in Fire Island.

historian Douglas Crimp averred. ‘They don’t have

Selected Filmography **** (1967), Chelsea Girls (1966), Empire (1964), Sleep (1964), Blow Job (1963) Credits Director/DOP: Andy Warhol Writer: Chuck Wein Producers: Andy Warhol, Paul Morrissey Cast: Paul America, Joe Campbell, Ed Hood, Genevieve Charbon, Dorothy Dean Print/Sales MoMA

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The Killing of Sister George

Robert Aldrich (1918-1983) entered the as a production clerk at RKO Pictures. He began writing and directing for TV series in the early 1950s, and directed

Robert Aldrich

Soon thereafter he established his own production company and produced

USA | 1968 | 16mm | 138 Thursday 22 September | 7pm | Henry Travers Studio

Actress June Buckridge (Beryl Reid) plays a kindly nun in a popular British soap, a role altogether distinct from her off-screen persona: a fabulously brassy butch with a sadistic streak who hits the bottle hard. Her life begins to unravel when plans are made to kill off her character, and, making matters worse, one of the show’s producers has eyes for her much-younger girlfriend. The writer Terry Castle described The Killing of Sister George as ‘a lesbian fable at once so it seemingly had to be forgotten immediately.’ Yet one still hasn’t caught up with it. Susannah York in from the toilet by her lover, a raddled Beryl Reid: it’s a revolution in awareness still waiting to happen.’

the writing of many of them. Among his best-known pictures are Kiss Me Deadly (1955), What Ever Happened to Baby Jane? (1962) and the muscular WW II mega-hit The Dirty Dozen (1967). Selected Filmography The Longest Yard (1974), The Dirty Dozen (1967), Hush...Hush, Sweet Charlotte (1964), What Ever Happened to Baby Jane? (1962), Kiss Me Deadly (1955) Credits Director/Producer: Robert Aldrich Writer: Lukas Heller, based on the play by Frank Marcus DOP: Joseph Biroc Editor: Michael Luciano Composer: Gerald Fried Art Director: William Glasgow Sound Design: Dick Church Cast: Beryl Reid, Susannah York, Coral Browne, Ronald Fraser, Patricia Medina Print/Sales BFI

AN EARLY CLUE TO THE NEW DIRECTION: QUEER CINEMA BEFORE STONEWALL

The Artistâ&#x20AC;&#x2122;s Cut

Rhinoceros Sebastian Buerkner

UK | 2016 | 3 | World Premiere Sunday 25 September | 5pm | The Maltings Theatre & Cinema Screening with All the Cities of the North

Moving in together confronts a couple with inevitable

The dialogue employs the poetic verse structure of the pantoum, which imitates the entanglement of their commitment and acts as the languages of a

Sebastian Buerkner (born in Berlin, Germany) lives and works in London. He completed an MA at Chelsea College of Art & Design in 2002 and was awarded their Fellowship Residency in 2003. From 2004, his art practice has shifted primarily to animation. Recent solo shows include Kunsthaus im KunstkulturQuartier Nuremberg, Germany; Tramway, Glasgow; Sketch, London; The Showroom Gallery, London; LUX at Lounge Gallery, London; Art on the Underground, Screen at Canary Wharf, London. He has also participated in group shows and screenings at Tate Britain, Tate Modern, London; Tate Liverpool; Site Gallery, South London Gallery, London and Purple Grey (2006) was broadcast as part of

The Chimera of M. won the Tiger Award for at the International Film Festival Rotterdam, and was also was shortlisted for the European Film Awards. Selected Filmography The Chimera of M (2014) Purple Grey (2006)

The Artist’s Cut

The Artist’s Cut is a Northern Film & Media scheme for UK-based artists with a background Festival Commissions in partnership with BALTIC Centre for Contemporary Art, Channel 4’s Jessica Sarah Rinland. With respective focuses on animation, documentary and essayistic broaden their practice. We’re excited with the results and the world premieres of these new THE ARTIST’S CUT

Schools Interior: The Flight of an Ostrich Jessica Sarah Rinland

UK | 2016 | 3 | World Premiere Thursday 22 September | 7pm | The Maltings Theatre & Cinema Screening with April and the Extraordinary World

Birds are masters of the sky. The ostrich is incapable of doing the one thing birds are famous for: they can the largest eyes and by being the fastest birds on land, seldom caught by predators.

Schools Interior: The Flight of an Ostrich links this description of the ostrich to a moment during the life of a chin-down, shy eight-year-old girl who, while watching an educational video about ostriches, peer group.

Jessica Sarah Rinland Artist-Filmmaker, Rinland has exhibited work in galleries, internationally. Nulepsy (2010) screened at Bloomberg New Contemporaries, New York Film Festival, BFI London Film Festival, International Film Festival Rotterdam, among others, and was broadcast by Canal+. In 2013 Rinland won ICAâ&#x20AC;&#x2122;s Best Experimental Film for Electric Oil. In 2014 she was artist in residence at the MacDowell Colony and Kingston Adeline For Leaves won the Arts + Science award at Ann Arbor Film Festival, also screening at Oberhausen, Edinburgh, Festival Du Nouveau Cinema, among others. As well as screening a retrospective of her work at London Short Film Festival 2016, they commissioned her, together with response to pioneering documentary with renowned author, Philip Hoare and academic Dr. Edward Sugdenm, she is currently in production for We Account The Whale Immortal which explores three mythic Thames Somerset House from July to October 2016. Selected Filmography (2016), Description of a Struggle (2013), Nulepsy (2011), A Great Day To Lose Him To Adeline (2008)

THE ARTISTâ&#x20AC;&#x2122;S CUT

They Live in Forests, They Are Extremely Shy UK | 2016 | 3 | World premiere Saturday 24 September | 7pm | The Maltings Theatre & Cinema Screening with On the Silver Globe

An Indigenous Australian man is invited to London for the Colonial Exhibition of 1886. He’s a reluctant ambassador, negotiating for the future of his land and his people under British colonialism. The guests see him as part part-dignitary, part-novelty. He plays the ‘good native’, until a chance encounter forces him to decide whether to live his life with diplomacy, or authenticity.

They Live in Forests, They Are Extremely Shy tells a story of colonialism from the perspective of the colonised and is based on extensive research into the history of ‘human zoos’. It is a short story dense with themes of oppression, dehumanisation, resistance, for their literal and cultural survival.

Saeed Taji Farouky is an award-winning

often referencing the relationship

Tell Spring Not to Come This Year won two awards at Berlinale 2015, was released in UK cinemas by Soda Pictures and was called ‘a powerful, beautifully shot documentary’ (4 stars) by The Guardian’s Peter Bradshaw. Born in the UK to Palestinian / Egyptian parents, Farouky has lived half his life in the Arab World, been broadcast on ARTE/ZDF, Channel 4 (UK), the Canadian Broadcasting Corporation, NRK (Norway) and AlJazeera International, amongst others. For his work in innovative documentary, Farouky was named a Senior Fellow with TED (Technology, Entertainment, Design) in 2011, and was previously Artist-In-Residence at Tate Britain, and twice Artist-In-Residence at the British Museum. Selected Filmography Tell Spring Not to Come This Year (2015), There Will Be Some Who Will Not Fear Even That Void (2013), The Runner (2013), I See the Stars at Noon (2005)

THE ARTIST’S CUT

Artists in

Claire Hooper Gymnasium Gallery

The exhibition will feature two works, Eris (2012) and Inanna (She Knocked Aggressively at the Door, She Shouted Aggressively at the Gate) (2016). The video installation, Eris, traces the experiences of Danielle Marie Shillingford, a woman who has lost, and struggles to regain custody of her children. Eris is an exploration of personal strength and weakness, and of institutional and physical violence against Danielle and her alter ego Eris, the goddess of strife and discord, creates a continuous blurring between the fantastical, the superhuman and the absolutely mundane.

The new work, Inanna (She Knocked Aggressively at the Door, She Shouted Aggressively at the Gate) will form the set between the goddess Inanna and her sister Ereshkigal. The goddess Inanna and her sister Ereshkigal predate the daemon/goddess Eris by around 2000 years, but come from the Sumerian civilisation, which gave to Greece the technology of the written word as well as the inheritance of many mythological and religious beliefs. If we read Eris as Ereshkigal she is more she is the suffering and work that is not only unrecognised but is shunned in womanhood, the side of womanhood concealed by

by Beatrice Dillon and the Song of Eris is written and performed by Lioness.

sister Inanna.

ARTISTS IN PROFILE

There is a Lone Woman at the Door Performance Event Friday 23 September | 9.30pm | Gymnasium Gallery

A large textile installation by Hooper will form an â&#x20AC;&#x2DC;open setâ&#x20AC;&#x2122; for a new performance work and for the production of a new video exploring the story of Inanna, Sumerian goddess of love, fertility and war. When Inanna descends to the underworld to visit her sister Ereshkigal, she arrives ceremonially dressed and laden with her powers. In ritual fashion she is stripped of these and undergoes death at the hands of her sister, only to be resurrected by her devotees in the land of the living.

Claire Hooper was born in 1978 and lives and works in London. She has participated in numerous exhibitions and screenings internationally. Recent and forthcoming shows include Time Machine and Anywhere Door, IT Park, Taipei; Art Statements, ArtBasel 41, Basel; Nach Spandau, Hollybush Gardens, London; The Blessing, Sketch, London; An Archaeology, Zabludowicz Collection at 176, London; Galerie Kamm, Berlin; A New Stance for Tomorrow, Sketch, London, Bidoun Artists Cinema, Dubai & Tribeca Grand Screen, New York; Claire Hooper & Mahomi Kunikata, LARM Gallery, Copenhagen. She won The Baloise Art Prize 2010, a prize that honours two young artists every year and is presented at the Art Statements experts. Selected Filmography Eris (2012), Aoide (2011), NYX (2010), Nach Spandau (2008), Auditorium (2005)

the role of Inanna in a contemplative performance derived from this myth, exploring the image of femininity and its relation to power.

ARTISTS IN PROFILE

Deborah Stratman

Oâ&#x20AC;&#x2122;er the Land

In Order Not to Be Here

USA | 2009 | 52 Friday 23 September | 1pm The Maltings Theatre & Cinema

USA | 2002 | 33 Custom House

A meditation on the milieu of elevated threat addressing national identity, gun culture, wilderness, consumption, patriotism and the possibility of personal transcendence. This

An uncompromising look at the ways privacy, safety, convenience and surveillance determine our environment. Shot entirely at

thorough ways that events can separate us from the system of things, and place us in a kind of limbo. Like when we fall. Or cross

of white-collar communities, dissecting the fear behind contemporary suburban design.

forces together culturally acceptable icons of heroic national tradition with the suggestion of unacceptable historical consequences, so that seemingly benign locations become zones of moral angst. ARTISTS IN PROFILE

Xenoi

Deborah Stratman Deborah Stratman makes work that investigates issues of power, control and belief, exploring how places, ideas, and

USA | 2016 | 15 | World Premiere Custom House Ice House The Greek island of Syros is visited by a series of unexpected guests. Immutable forms, outside of time, aloof observants to human conditions. The hovering shapes are regular, convex polyhedrons comprising identically sided, congruent faces. There are only octahedron, dodecahedron and icosahedron. The mathematical beauty and symmetry of these forms has been studied for thousands of years, appearing as early as Neolithic Scotland. They are widely known as Platonic Solids after the Greek philosopher who wrote about them in his dialogue Timeaus. The sites ‘visited’ in the video are Armeos beach, Pherecydes’ Cave, hillside yapia, Ano Syros spring, Ermoupolis, Kastri, the Apollo Theater and Anemogennitries hilltop. Pherecydes of Syros (580-520 BC) was the author of the Pentemychos, a pre-Socratic cosmogony, and is commonly held to be the teacher of Pythagoras. Yapia is the plural of yapi, the

have addressed freedom, expansionism, surveillance, sonic warfare, public speech, ghosts, sinkholes, levitation, propagation, orthoptera, raptors, comets and faith. She has exhibited internationally at venues including MoMA NY, Centre Pompidou, Hammer Museum, Mercer Union, Witte de With, the Whitney Biennial and festivals including Sundance, Viennale, CPH/DOX, Berlinale, Oberhausen, Ann Arbor, Full Frame and Rotterdam. Stratman is the recipient of an Alpert Award, Fulbright, Guggenheim and USA Collins Fellowships and grants from Creative Capital, Graham Foundation and Wexner Center for the Arts. She teaches at the University of Illinois at Chicago. Selected Filmography The Illinois Parables (2016), Hacked Circuit (2014), Kings of the Sky (2004), The BLVD (1999)

especially prevalent around Greece since the development of the economic crisis. Ermoupolis is a port town and capital of the South Aegean region. Kastri (2800-2300BC) is an of the island. The video was produced as part of the Syros Sound Meetings, and in collaboration with composer Michael Pisaro. Pisaro’s a particular tuning called the Pythagorean comma, named after the ancient mathematician and philosopher. Accompanying the video is the ceramic edition SOLIDS, variants on the theme.

ARTISTS IN PROFILE

Exhibitions

Going to the Mountain Jenny Brady

Ireland | 2015 | 11 | International Premiere Bankhill Ice House

Going to the Mountain is a single channel video work, consisting of three formal studies of pre-verbal babies. Through its unlikely protagonists, the video considers how the pre-verbal child might represent a site of embodied knowledge. Using slow motion camera, mirrored surfaces and rhythmic editing, the video attempts to depict the complexities of their gesture, rhythm and movement through a process of defamiliarisation.

Going to the Mountain is an acute, unsentimental portrait of Nico, Grace and Maya, with a score developed in collaboration with Andrew Fogarty, featuring improvised percussion by David Lacey made in response to audio recordings of a 7 month old child.

Jenny Brady works with the moving image to explore ideas around speech, translation and the nature of communication. She completed an MA in Visual Arts Practices, IADT in 2010 and recent presentations include 62nd International Short Film Festival, Oberhausen; You Ain’t Seen Nothin’ Yet, Beursschouwburg, Brussels curated by Helena Kritis; Experimenta at the BFI London Film Festival; Futures ‘15, RHA gallery; Videonale 15, Kunstmuseum Bonn; Roadkill, IMMA; Pallas Periodical Review #4 Wade-In curated by Chris Clarke, Lewis Glucksman Gallery, EVA International 2014 curated by Bassam El Baroni, Images Festival 2014, Toronto, Futures ’13, RHA, TULCA Golden Mountain 2013 curated by Valerie Connor and Make-Shift, Talbot Rice Gallery curated by Modern Edinburgh Film School. She is co-founder and co-curator of PLASTIK Festival of Artists’ Moving Image. Selected Filmography Bone (2014), Wow and Flutter (2013), Carve Up (2013), The Known World (2011), Technology Autonomous (2011) Credits Created by: Jenny Brady Camera Operators: Aidan Maguire, Andrew Fogarty, Jenny Brady Percussion and Field Recording: David Lacey Electronics and Processing: Andrew Fogarty Music Arrangers: Jenny Brady, Andrew Fogarty Objects: Barbara Knezevic Cast: Nico, Grace and Maya Print/Sales Jenny Brady EXHIBITIONS

In Extrinsics

Ghislaine Leung is an artist and writer, she lives and works in London

Ghislaine Leung

078746844 at Wiels, Brussels; Soft Open Shut at Studio Voltaire; Brink at CGP, London; Violent Incident, Vleeshal, Middelburg; Prosu(u)mer, EKKM,

Belgium | 2015 | 11 | International Premiere The Magazine

In 2015 I spent a lot of my time in a studio moving friend came by the studio twice in this period and

Amsterdam; A Bright Night: Technologies of Affect, with Serpentine Galleries and LUX. Leung is editor of Versuch Press and member of PUBLIKATIONEN + EDITIONEN.

side of the room to the other and back again. We watched the bar scene from John Cassavetesâ&#x20AC;&#x2122; Husbands and he sang me the chorus from Donâ&#x20AC;&#x2122;t Worry Baby. The work comes somewhere out of that, out of the labour involved in not measuring, in the vulnerability of having nothing to hold onto and everything to hold close. (Ghislaine Leung)

EXHIBITIONS

Print/Sales Ghislaine Leung

Persuasion

Lucy Parker’s practice investigates collaborative

UK | 2016 | 20 | World Premiere Council Chamber, Berwick Town Hall

practice in its development, production and display. Recent work focuses on ways in which groups organise to subvert dominant cultural practices.

Lucy Parker

Transformation, hauntings and strategies of activism are some of Lucy Parker’s concerns in Persuasion. Researched and shot in Berwick, Parker developed the strategies of canvasing, debate, open air speaking and direct action are voiced over a radio broadcast and activities are portrayed through documentation of a meeting to counter a far right demonstration and a staged occupation against cuts to public services. Parker began by researching characters depicted in 19th century novels for whom an unexplainable spiritual encounter challenges rational empiricism. This crisis is mapped onto a 21st century schism, where challenging the divisive structures of capitalism leads to punishment for those who ‘know too much’.

locations in the UK including the Jerwood Space (London), ICA (London), Scottish Parliament (Edinburgh), Studio Voltaire (London), Outpost (Norwich) and internationally at the Cinematheque Quebecoise (Montreal), Paramount Centre (Boston), Anthology Film Archive (New York), Images Festival (Toronto). Lucy lectures in Filmmaking at Kingston University. Selected Filmography Apologies (2016), Writers Group (2013) The Home and the World (2010) Print/Sales Lucy Parker

activist, as storyteller, Tam Dean Burn tells the tale of Slippery Jane, who seeks asylum in a public library. The story is adapted from Ferdinand Zecca’s 1910 Slippery Jim. Made with special thanks to all participants: actors, extras and interviewees.

Persuasion is a Festival Commission with Berwick Visual Arts.

EXHIBITIONS

Proad Luak Kumtob Tee Touk Tong

Sorayos Prapapan is an independent

(Please Choose the Best Answer) Sorayos Prapapan

completed studies at the Film and Photography Thammasat University Thailand. After his schooling, he started working as a production assistant for the Uncle Boonmee Who Can Recall His Past Lives (2010).

Thailand | 2016 | 12 | World Premiere The Main Guard

Prapapan is a sound technician and foley artist.

Thai Education is full of propaganda: we are taught that we are a democratic country but when we protest by standing still, we are arrested. They teach us morality but then pretend not to know

Original Language Thai with English subtitles Selected Filmography Raksa dindaen (2016), Switzerland (2015), Dao Indie (2014), Boonrerm (2013) Credits Director/Writer/Producer/DOP/Editor/ Sound Design: Sorayos Prapapan

Educational Test (O-NET) for Thai secondary school students.

EXHIBITIONS

Print/Sales Sorayos Prapapan

2002

C. Spencer Yeh USA | 2015 | 55 | International Premiere The Barrels Ale House

2002 of approximately forty bands videotaped by artist C. Spencer Yeh during the year 2002, including Deerhoof, Animal Collective, Sightings, Sudden Infant, Cock ESP, Double Leopards, Caroliner Rainbow, Comets on Fire, and more. Acting as a survey, tribute, and foreshadowing of the contemporary American musical underground, 2002 captures not only the artists, but the audiences, spaces, and networks that decade later. A handful of the segments were originally posted to Yeh’s personal website, before the coming of YouTube and other media-sharing outlets. The average duration of the edits were kept short due to the storage and bandwidth considerations of that time – a strategy carried over in revisiting the footage years later. In a style similar to Yeh’s Hair Police: 01-02, the accustomed musical documentary talking heads, voiceover meditations, and evocative b-roll were eschewed in favor of a more observational ‘vérité’ approach. A loose narrative was already found in the sequencing of these short glimpses during the span of a year – audience members one moment are then found to be the artists on stage in the next. Some venues iconic in their moment are now long gone, while others were revived in recent times, activating a new history.

C. Spencer Yeh was born in 1975 in Taipei, Taiwan. Yeh has toured and performed widely, and has recently presented work at the 2014 Liverpool Biennial; the Kinomuzeum at the Museum of Modern Art, Warsaw; and the Kunsthalle Stavanger, Norway. Recent recorded works include Ambient, Transitions and Wake Up Awesome. Yeh co-organised Spectacle Theatre, Brooklyn’s participation at the Museum of Arts and Design. Yeh is a 2015 ArtistBrooklyn. Selected Filmography Landscapes and Subtitles (2013), Now That I Have Your Attention (2011), Xiu Xiu: This Too Shall Pass Away (2009), Deerhoof: Buck and Judy (2008), Hair Police ‘01-’02 (2004), Hair Police Live July 4th 2002 (2002) Credits Director/Producer/DOP/Editor: C Spencer Yeh Print/Sales C Spencer Yeh/Electronic Arts Intermix

EXHIBITIONS

Visions of an Island Sky Hopinka

USA | 2016 | 15 | International Premiere Coxon’s Tower

An Unangam Tunuu elder describes cliffs and summits, drifting birds, and deserted shores. A group of students and teachers play and invent games revitalising their language. A visitor wanders in a quixotic chronicling of earthly and supernal terrain. These visions offer glimpses of an island in the center of the Bering Sea.

Sky Hopinka is a Ho-Chunk Nation national and descendent of the Pechanga Band of Luiseño Indians. His work centers around personal positions of homeland and landscape, designs of language and facets of culture contained within, and the play between, the accessibility of the known and the unknowable. He received a BA from Portland State University in Liberal Arts and an MFA in Film, Video, Animation, and New Genres from the University of Wisconsin-Milwaukee. Selected Filmography I’ll Remember You as You Were, Not as What You’ll Become (2016) Approx (2015), Venite et Loquamur (2015)

Song (2014), wawa (2014) Print/Sales Sky Hopinka

EXHIBITIONS

The Watershow Extravaganza

Sophie Michael is a London based artist and installation. She studied at the Slade School of Fine Art and the Royal Academy

Sophie Michael

galleries internationally. Her latest solo exhibition, Trip (The Light Fantastic), continues until 30 October 2016 at Tate Britain, as part of the Art Now series.

UK | 2016 | 16mm | 11 | UK Premiere St Aidanâ&#x20AC;&#x2122;s Peace Church

Selected Filmography Daphne (Purple Red) (2014), Attica (2013), The Astrid Series (2010-2014), Shaft/Ground (2009) Credits Director/Producer/DOP/Editor/Sound Design: Sophie Michael Print/Sales Sophie Michael/Seventeen Gallery

to hit the top notes and positions. Today this kind of performance of innocence seems absurd and nostalgic, and not entirely innocuous. Yet poignantly, the Watershow persists, like the out-of-date format contemporary world.

Multiple exposures mix neon colours and shots blindly alternate between dark and light, until the show is and charm of its own. Exhausted and hysterical, the spectacular and slippery. EXHIBITIONS

Special Events

The CineMarauder Star & Shadow Cinema

Fri 23 - Sun 25 September | The Maltings Theatre & Cinema

Star & Shadow brings The CineMarauder to BFMAF to continue its ongoing collective exploration into the conditions of viewing, cultivating a dialogic relationship between artist and spectator. The CineMarauder, a 16’ caravan adapted to be a screening room is an experiment in the Medvedkin tradition of bringing cinema to people and places to provoke discussion. The caravan is also touring to draw attention to the undeniably Star & Shadow in 2017. www.crowdfunder.co.uk/starandshadow One limb of the Star & Shadow organism’s collective exploration into viewing contexts has evolved a collaborative programming pseudonym, The Ignorant Curator relationship sets up a non-hierarchical mediation between artist and viewer, and generally results in a very rich discussion at the end. The collective experience of cinema readings of the work, in a context where the division between those who ‘know’ and those who don’t is impeded, and intellectual equality is celebrated. For BFMAF, the Ignorant Curator, sister of Ranciere’s Ignorant Schoolmaster, invites the hopefully never seen before by both curator and audience. Supported by Film Hub North, led by Showroom Workstation Proud to be part of the BFI Film Audience Network

SPECIAL EVENTS

World Is Sudden: Part I

Supported by Film Club, Northern Film and Media Saturday 24 September | 10pm | Palace Green Pavilion

with guests: Eleanor Wright, Kathryn Elkin, Rene McBrearty, Susie Green & Simon Bayliss, Terry Inspired by the collateral, incompatible and sudden world described in Louis MacNiece’s 1935 poem Snow, each event brings together a breadth of live practice, spanning performance, music and sound alongside disparate moving image works, internet video phenomena and archival material. Staged in a specially designed set the works included will be the tyranny of prescribed thematics and embracing ‘the drunkenness of things being various,’ however modestly.

you to take a closer look at one artist’s practice in the extended site of the North East, through an articulate program that moves between the formats of exhibition, publication, event and conversation. Aiming to overcome redundant superstructures replacing them with a leaner relationship between artwork and viewer, producer and artist.

SPECIAL EVENTS

Giles Bailey & CIRCA Projects is a co-produced programme examining the possibilities and positions of an independent curatorial organisation, its relationship with its locale and similarly that of an artist. With Giles Bailey & CIRCA its attention for a period of 18-months on one artist and the three members of Bothwell and Sam Watson; their collective place – and relationships – within a region of Northern England in 2016/17. Credits Eleanor Wright Kathryn Elkin Rene McBrearty Susie Green & Simon Bayliss Terry

CIRCA Projects sites - considering the locations and formats used to exhibiting art as integral to contemporary art’s meaning and agency. Giles Bailey works with performance using texts, video fragments and choreographies – either composed or strategically plundered from elsewhere – to rethink conventional approaches to the assemblage and recounting of history. In Dame, Kathryn Elkin looks at a televised event which has historicised mainstream sexist attitudes in Helen Mirren’s early career. Rene McBrearty’s performances and installations investigate issues surrounding gender identity, power play, race and the idea of the artist as divine.

Catcher Pressure Pusher considers architecture as a means of orientation. For World Is Sudden, Eleanor Wright & Sam Watson design an adaptable stageset to accompany this performance series. Inevitably, Terry likes to make a noise. Drums, guitars and all his voices come into play, making a solid raft for Terry’s melancholic musings to navigate the languid rapids. This all unravels at its own pace, conducting a conversation with the commonplace.

LOVE IMMERSION is Susie Green & Simon Bayliss artists dancing in swimwear, together but alone, punctuated by clips of hands smacking bare backsides.

Presented in association with

SPECIAL EVENTS

Keeping House

Ian Fenton has seventeen years

Ian Fenton and Jacob Polley UK | 2014 | 45 Thur 22 - Sun 25 September | 11am-6pm | Old Gaol, Berwick Town Hall

An evocative documentary exploring the beguiling atmosphere of the William Cowe & Sons Berwick cockle shop, a family business dating back to 1801.

discovered a world caught between the near and distant past, all seemingly imbued with historical

interactive industries as a writer and director. His work has earned nominations and awards from BAFTA, the Royal Television Society, the San Francisco International Film Festival, and the London Short Film Festival. Jacob Polley is the author of three acclaimed books of poems, The Brink (2003), Little Gods (2006) and The Havocs (2012), all published by Picador, UK. He received an Eric Gregory Award in 2002, and both The Brink and The Havocs were shortlisted for the T.S. Eliot Prize. Selected Filmography Ian Fenton The Homes of Football (2012), Black Dog (2006), Flickerman and the Ivory Skinned Woman (2002) Credits Directors: Ian Fenton, Jacob Polley DOPs: Ian Fenton, Alex Ayre Editor: Ian Fenton Sound Designers: Jacob Polley, Hannah McParlin Cast: Francis Cowe, John Cowe, William Cowe, Linda Bankier, Annette Reeves Print/Sales Ian Fenton

Pop-up Cinema Presented by

SPECIAL EVENTS

Xplore Space Kids and Families’ Hub

Thur 22 - Sun 25 September | 59 Marygate

creative activities offered (11am–4pm). Artists Katie Chappell and Chloe Smith will be leading Cinekid Festival Amsterdam’s Best European Animation Competition Best European Animation Competition that consists of three compilations of animated works without dialogue for different ages (4+, 6+, 8+).

Cinekid programme 4+ | 45

Cinekid programme 6+ | 57

Cinekid programme 8+ | 64

Supported by

SPECIAL EVENTS

Young Filmmakers’ Award Screening Sun 25 September | 12.45pm | The Maltings Theatre & Cinema

Filmmakers’ Award (14 years and under) and The Chris Anderson Award (15-19 years old). The Chris Anderson Award is supported by Chrissie Anderson and Paul W.S. Anderson, director of Resident Evil and Alien vs. Predator.

Killer Party World Premiere A girl is at a social that turns out to be less than thrilling. As she kills time in the bathroom her mind begins to wander, imagining a party to die for. But is it all in her imagination…

Credits

Daniel Actor/script: Stuart Actor/sound/script/make up: Ezzie Actor/script: Finlay Actor/director/camera/make up /script: Abi Actor/sound/script: Bob Actor/sound/edit/script/camera: Lewis Actor/script: Ami Actor/script: Caitlyn Sound/actor/script/lighting: Kian Actor/make up/script: Alicia Filmmaking Mentors & Production Support Magenta Sharp Merrick Thomson Rehana Zaman

YOUNG FILMAKERS’S AWARD SCREENING

YFS: ENTRIES Frame

Jennifer Busaing, Marc Gutierrez, Charlene Maningding, Rachael Stone UK | 2016 | 3 Is life better seen through our own eyes or through a frame? Do we prefer the ‘real world’ or the manipulated and more highly saturated world of

Limbo

Roisin Kennan, Sophie Gregan, Lewis Pasola UK | 2015 | 7

part of The Factory; Tyneside Cinema’s digital arts programme for young people.

and found himself lost in a drastically unfamiliar country. He tells of his escape, the various barriers he has encountered throughout his life and his plans for a more hopeful future. Northern Stars

Rapunzel

Escape

Maddie Frost, Flora Colton, Iona McCall UK | 2015 | 4

Rapunzel is a fairy tale about the love between a young prince and a girl with long, blond hair that conquered all of the Witch’s evil intentions. Borders present a stop-motion animated version of the Grimm’s fairy tale Rapunzel created by young people in the Scottish Borders.

Movements and Moments Emily Victoria Allen UK | 2016 | 6

Movements and Moments exploring the pure simplicity of slowing down and speeding up our natural movements. In our fastpaced world, we take moments for granted and rarely savior the little things in life. Our perception of a moment is displayed by a young girl awaking from a long sleep through dancing. Visually it can be described as Sleeping Beauty meets the ballet, with Francesca Woodman.

CHAOS: Children Having Anxiety Over Services

Charlie, Dan, Ellen, Jacob, Michael, Mikail, Lucy, Tom UK | 2016 | 9 An animation depicting the true stories of children and young people’s experiences of mental health bringing young people and adults together to change how services are designed and to make sure young people get the help they need to manage their mental health better. Helix Arts

Izzy Gale, Stephanie Cartledge, Jessica Hawkins UK | 2016 | 8 A girl who goes through many hardships and loneliness throughout her childhood, creates a friend to decrease the levels of unhappiness and continues to imagine that friend even when she manages to make new, real friends as she grows up. However when one of those friends tells her that her childhood friend isn’t real, reality starts to settle in. Around 51 million people suffer from schizophrenia and many more are neglected.

The Malody Chronicle Lily Mae Kroese UK | 2016 | 10 Inspired by the opening tracks from Barry Hyde, the former lead singer of the Futureheads, who was in turn inspired by his battles with bipolar disorder, Malody tells the story of love lost and regained. Featuring cut out stop-motion animation and 3D motion graphics, Malody is directed animated and edited by Lily Kroese, alumni of the 2015 BFI Animation Camp.

The Pirate Thief James Crombie, Hannah Dowswell, Adam Fay, Louis Huckle, Adam Rutherford, Matthew Theoh UK | 2016 | 5 Captain Victoria Mango and her crew set sail for treasure. To get her hands on it she must get past the eccentric Lord William Spoonful and his madcap friends, including the mysterious Hasselhoff the bear... Beacon Hill Arts. Young Filmmakers Awards selected by Amaya Bañuelos Marco YOUNG FILMAKERS’S AWARD SCREENING

INDEX Films, Exhibitions & Events by Title All the Cities of the North

Persuasion - Lucy Parker 71

April and the Extraordinary World - Christian Desmares and Franck Ekinci 12

Please Choose the Best Answer - Sorayos Prapapan 72

Big Ware - Philip Trevelyan 16

Proad Luak Kumtob Tee Touk Tong - Sorayos Prapapan 72

A Boy Needs a Friend - Steve Reinke 23

Le sang d’un poète - Jean Cocteau 49

Avril et le monde truqué - Christian Desmares and Franck Ekinci 12

Rhinoceros - Sebastian Buerkner 59

- Luke Fowler 14

Un chant d’amour - Jean Genet 51

Schools Interior: The Flight of an Ostrich Jessica Sarah Rinland 60

Cilaos - Camilo Restrepo 29

The CineMarauder - Star & Shadow Cinema 77 Colossal Cave

Scorpio Rising - Kenneth Anger 54 Serrated Edge - Lewis Klahr 33

Some Shapes Without Edges - Molly Palmer 34

Dear Hester (Reversed) - Patrick Staff 31 Eleven Men -

The Prison in Twelve Landscapes - Brett Story 38

Still Life - Maud Alpi 36

Svi severni gradovi

Eris - Claire Hooper 64

Sylvia Scarlett - George Cukor 10

Events in a Cloud Chamber - Ashim Ahluwalia 26

Tender Not Approved - Jenny Perlin 35

Flaming Creatures - Jack Smith 55

There Is a Lone Woman at the Door - Claire Hooper 65

The Future Perfect - Nele Wohlatz 11

They Live in Forests, They Are Extremely Shy -

El futuro perfecto - Nele Wohlatz 11

Going to the Mountain - Jenny Brady 69

2002 - C Spencer Yeh 73

Gorge Cœur Ventre - Maud Alpi 36

Victim - Basil Dearden 53

Havarie - Philip Scheffner 37

Vingarne - Mauritz Stiller 48

If It Was - Laure Prouvost 32

Visions of an Island - Sky Hopinka 74

In Extrinsics - Ghislaine Leung 70

In Order Not to Be Here - Deborah Stratman 66

Inanna (She Knocked Aggressively at the Door, She Shouted Aggressively at the Gate) Claire Hooper 64

The Watershow Extravaganza - Sophie Michael 28, 75

World Is Sudden: Part 1 - Giles Bailey 78-79 Xenoi - Deborah Stratman 67

Keeping House - Ian Fenton & Jacob Polley 80

Xplore Space 81

Lambing - Philip Trevelyan 17

Zikrayat Li Moufatish Khass - Rania Stephan 25

The Killing of Sister George - Robert Aldrich 57 - Leontine Sagan 50

Memories for a Private Eye - Rania Stephan 25

The Moon and the Sledgehammer - Philip Trevelyan 15 24

My Hustler - Andy Warhol 56 Na srebrnym globie

O’er the Land - Deborah Stratman 66 Olivia - Jacqueline Audry 52 On the Silver Globe

One.Two.Three - Vincent Meessen 27 INDEX

Young Filmmakers’ Award Screening 82-83

Films, Exhibitions & Events by Director Ahluwalia, Ashim - Events in a Cloud Chamber 26

Rinland, Jessica Sarah - Schools Interior: The Flight of an Ostrich 60

Alpi, Maud - Gorge Cœur Ventre (Still Life) 36

Scheffner, Philip - Havarie 37

Aldrich, Robert - The Killing of Sister George 57 Anger, Kenneth - Scorpio Rising 54

Colossal Cave 30

Audry, Jacqueline - Olivia 52

Bailey, Giles - World Is Sudden: Part 1 78-79 Brady, Jenny - Going to the Mountain 69

Sagan, Leontine -

Smith, Jack - Flaming Creatures 55

Staff, Patrick - Dear Hester (Reversed) 31

Star & Shadow Cinema - The CineMarauder 77 Stephan, Rania - Zikrayat Li Moufatish Khass (Memories for a Private Eye) 25

Buerkner, Sebastian - Rhinoceros 59

Stiller, Mauritz - Vingarne 48

Cukor, George - Sylvia Scarlett 10

Stratman, Deborah - In Order Not to Be Here; O’er the Land; Xenoi 66-67

Cocteau, Jean - Le sang d’un poète 49 Dearden, Basil - Victim 53

Desmares, Christian - Avril et le monde truqué (April and the Extraordinary World) 12 Ekinci, Franck - Avril et le monde truqué (April and the Extraordinary World) 12

Are Extremely Shy 61

They Live in Forests, They

Trevelyan, Philip - Big Ware; Lambing; The Moon and the Sledgehammer 15-17 Warhol, Andy - My Hustler 56

Wohlatz, Nele - El futuro perfecto (The Future Perfect) 11 Xplore Space 81

Yeh, C Spencer – 2002 73

Fenton, Ian - Keeping House 80 Fowler, Luke -

Story, Brett - The Prison in Twelve Landscapes 38

Genet, Jean - Un chant d’amour 51

Hooper, Claire - Eris, Inanna (She Knocked Aggressively at the Door, She Shouted Aggressively at the Gate), There Is a Lone Woman at the Door 64-65

Young Filmmakers’ Award Screening - Young Filmmakers’ Award Screening 82-83

Na srebrnym globie (On the Silver Globe) 13

Hopinka, Sky - Visions of an Island 74 Klahr, Lewis - Serrated Edge 33

Svi severni gradovi (All the Cities of the North) 39

Leung, Ghislaine - In Extrinsics 70

Meessen, Vincent - One.Two.Three 27 Michael, Sophie - The Watershow Extravaganza 28, 75

(Eleven Men) 24

Palmer, Molly - Some Shapes Without Edges 34 Parker, Lucy - Persuasion 71

Perlin, Jenny - Tender Not Approved 35 Polley, Jacob - Keeping House 80

Prapapan, Sorayos - Proad Luak Kumtob Tee Touk Tong (Please Choose the Best Answer) 72 Prouvost, Laure - If It Was 32

Reinke, Steve - A Boy Needs a Friend 23 Restrepo, Camilo - Cilaos 29

INDEX

OUR VENUES

The Maltings Theatre & Cinema

The Maltings Theatre & Cinema is the premiere performing arts venue for North Northumberland and the Scottish Borders. Housed within a landmark, purpose-built building in the centre of Berwick-upon-Tweed, The Maltings offers a programme that centred activities and events.

Venue courtesy of The Maltings (Berwick) Trust

The Barrels Ale House

The Barrels Ale House is an award winning real ale and live music pub tucked away on the corner of Bridge Street and Bridge End close to the Tweed Bridge. They pride themselves in offering a warm welcome to locals and visitors alike. Venue courtesy of Barrels Ale House, Jaki Russell

Custom House

The Custom House was originally built in the 18th century as a private house, and later became a bank. The building served as the town’s dispensary from 1826 to 1872, when it became the Customs House for H.M. Customs & Excise in the port of Berwick until vacated in 2006. The Customs House is now back in private ownership. Venue courtesy of Gary Heslop

Berwick Town Hall + Old Gaol

Custom House Ice House

Berwick Town Hall is at the east end of Marygate. Indside the Town Hall, the Council Chamber is used by the Borough Council, the Berwickupon-Tweed Guild of Freemen and Trustees. Above the entrance, two clock hands constantly point to 11 o’clock, this being the time at which Council Meetings used to be held. The present furnishings of the Chamber date from the reform of local government in 1974. The Old Gaol and Prison Cells occupy

House’s forgotten ice house in 2014 when the space was converted for use. We continue to use this unique space to show work in this hidden corner of Berwick. Venue courtesy of Gary Heslop

the right was built for high-risk prisoners, the second was for women, and the third cell was for shortterm prisoners, mostly sailors and soldiers of the garrison. Opposite is the drunkards’ cell with a sloping bed the condemned cell which was last 1823. The gaol was in use until 1849, when a new prison - now the council Venue courtesy of The Freemen of Berwick

OUR VENUES

The Magazine

The Magazine was built by the Board of Ordnance in 1749 to store the gunpowder used by the garrison stationed in the Barracks. The building is heavily buttressed to lessen the danger and impact of an explosion. Venue courtesy of English Heritage

The Gymnasium

Berwick Barracks was built in 1717 to house the town’s garrison. The Gymnasium was added to the complex in 1901. It was built Venue courtesy of Berwick Visual Arts and English Heritage

Bankhill Ice House

The Main Guard

Towards the end of the 18th century, the garrison’s main responsibility was to guard the town, whose gates were closed at night. There was a guard house near each of the four main gates; Main Guard is the only one remaining and dates from 1742. One of its three rooms is the ‘Black Hole’, a cell to hold the drunk and disorderly. The Main Guard is now used by Berwick Civic Society for meetings and as an exhibition space.

Bankhill Ice House, one of several known ice houses in Berwick, was built in the early eighteenth century. These buildings stored ice that was used for preserving salmon sent from Berwick to London and elsewhere on trade routes across the North Sea. Bankhill Ice House was still being used in the 1930s, and was designated an air raid shelter during WWII. Venue courtesy of Berwick Civic Society

Venue courtesy of Berwick Civic Society.

10.

Palace Green Pavilion

A 19th century building, the Palace Green Pavilion was originally a Subscription Reading Room, then later a Bowling Green and Billiard Hall. Since 1914, it has been used as a Scout Hall, as well as a being a general community centre for the town of Berwick. Venue courtesy of Palace Green Pavilion Trust

13.

St Aidan’s Peace Church

12.

Originally an Anglican church, over the last twenty years, St. Aidan’s Peace Church has been a centre for demonstrations, protests, and strong

a temporary BFMAF kids and familyfriendly space at 59 Marygate with

11.

and environmental action.

Venue courtesy of Helen Rutherford

Xplore Space

Space to play, explore and to

and creative activities offered. Venue courtesy of Chartres Investment Company Limited

Coxon’s Tower

Dating from the fourteenth century, Coxon’s Tower is part of the medieval in 1296. In the early 16th century, a stone bulwark, serving as a gun platform, was built out from the east casemate. The ravages of the sea and river took their toll, and the bulwark was abandoned in the 17th century.

Venue courtesy of English Heritage OUR VENUES

Berwick Train Station

Berwick Upon Tweed

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Chapel Street

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The Maltings Theatre & Cinema

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Silver Street

Palace G r

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Palace Str e e t

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Ravensdowne

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Palace Street East

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Foul Ford

Woolmarket

Hide Hill

Street

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West

Xplore Space

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Berwick Town Hall + Old Gaol

Eastern Lane

Church Street

B a n k h il Mary gate

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1. The Maltings Theatre & Cinema 2. The Barrels Ale House 3. Custom House 4. Custom House Ice House 5. Berwick Town Hall + Old Gaol 6. Gymnasium Gallery 7. The Magazine 8. The Main Guard 9. Bankhill Ice House 10. Palace Green Pavilion 11. St Aidan’s Peace Church 12. Xplore Space 13. Coxon’s Tower

Royal Border Bridge Berwick Town Walls

WED

21ST

THUR

9AM

10AM

11AM

First Schools Screening: 9.30 - 11

Film Hub Road Show: 12 - 3.30

EXHIBITIONS: 11 - 6

Berwick New Cinema Seminar: Deborah Stratman: 10.30 - 12.30

O’er the Land: 1 - 2.30

EXHIBITIONS: 11 - 6

24TH

Berwick New Cinema Seminar: Thomas Beard: 10.30 - 12.30

SUN

2PM

22ND

23RD

SAT

1PM

Middle Schools Screening: 12.30 - 2.30

High Schools Screening: 10 - 12

FRI

12PM

Vingarne: 1-2 Lambing + Big Ware: 1 - 2.30

EXHIBITIONS: 11 - 6

25TH

Berwick New Cinema Seminar: Claire Hooper + Lucy Parker: 10.30 - 12.30

Young Filmmakers’ Competition & Showcase: 12.45 - 2.30 Berwick New Cinema BLUE: 12.45 - 2.30

EXHIBITIONS: 11 - 6

3PM

4PM

5PM

6PM

Berwick Library Big Friendly Read: 4 - 5

7PM

8PM

9PM

10PM

11PM

OPENING GALA + PARTY:

Sylvia Scarlett: 7 - 8.30

Olivia: 5 - 6.30

April & The Extraordinary World + Schools Interior: The Flight of an Ostrich: 7-9 The Killing of Sister George: 7 - 9.30

Victim: 3 - 4.30 Berwick New Cinema RED: 3 - 4.30

Un chant d’amour + Le sang d’un poète: 3 - 4.30 Berwick New Cinema GREEN: 3 - 4.30

Still Life: 3 -4.30 Flaming Creatures + Scorpio Rising: 3 -4.30

The Prison in Twelve Landscapes: 5.15 - 6.45

The Moon and the Sledgehammer + 7-9

There Is a Lone Woman at the Door: 9.30 - 11

Reception for Lucy Parker Exhibition, Town Hall: 5:30 - 7

Havarie: 4.45 - 6.15 My Hustler: 5.15 - 6.15

On the Silver Globe + They Live in Forests, They Are Extremely Shy: 7 - 10 The Killing of Sister George: 7 - 9.30 World Is Sudden: Part 1: 10 - 11.30

All the Cities of the North + Rhinoceros: 5 - 6.45

CLOSING GALA:

El futuro perfecto: 8 - 9.30

Uniform: 5.30 - 7

Thanks to all those who have helped BFMAF 2016: Chrissie Anderson Paul W. S. Anderson Alchemy Festival: Richard Ashrowan and Harriet Warman Arch: Andrew Martin, Peter McIntyre, Alexandra Wiley Arts Council England: Laura Cresser, Lara Devitt, Jane Tarr Auguste Orts: Marie Losier AV Festival: Rebecca Shatwell, Peter Merrington BBC: Reg Roberts BBC Newcastle: Darren Taylor Emily Benita Berwick Civic Society: Zoreen Lady Hill, Marion Mead Berwick Food & Drink Festival: Ruth and Maurice McNeely Berwick Film Society: Genni Poole, John Spiers, Maurice Ward Berwick Preservation Trust: Jamie Anderson, Alison Douglas Berwick Tourist Information Centre: Louise Dixon Berwick Town Council Berwick Visual Arts: James Lowther, Val Tobiass Berwick Literary Festival: Christopher Smith Berwick Children’s Centre: Jan Carson Berwick Migrant Support Group: Gerry Jones, Andy Knight, Gosia Berwick-upon-Tweed Community Development Trust: Julian Lake Berwick U3A: Hilary O’Shea Berwick Voluntary Centre: Fiona Calder Berwick Library: Diane Wright British Film Institute: Will Fowler, Laura Glanville, Sarah-Jane Meredith, Kate Taylor, James Wendup, Valerie and Peter Bistram, Rod Rhule The Barrels Ale House: Jaki Russell CCA Glasgow: Francis McKee CNC: Hermine Cognie Community Foundation: Jon Goodwin, Sue Martin, Derry Nugent, Vivienne Rodgers, Ellie Turner Courtisane Festival: Pieter-Paul Mortimer Culture Bridge North East: Melanie Carter Custom House: Gary Heslop, Peter Heslop, Edwin Thompson & Co., George Clark The Curfew: Gemma Deighton Dutch Embassy: Daphne Thissen Julia Davies James Dixon Electronic Arts Intermix: Rebecca Clemen Edinburgh University: Susan Kemp English Heritage: Katherine Pryde, Tamsin Bapty, Sophie Howard Kathryn Elkin Film Hub North: Anna Kime Film Hub Scotland: Sambrooke Scott, Carolyn Mills Firebreak Fire Securities: Stuart Holdane General Mills: Aileen Reilly Goethe-Institut: Maren Hobein, Eva Schmitt

The Green Shop: Ross Boston Jim Herbert John Haswell Tony Hacker International Film Festival Rotterdam: Edwin Carels, Peter van Hoof, Inge de Leeuw, Gerwin Tamsma Into Film: Lizzie Nolan Kazmiranda: Laurie Martin Laura Bartlett Gallery: Katherina Worf Les Films du Jeudi/Les Films de la Pléiade: Laurence Braunberger Lithuanian Cultural Institute & Lithuanian Embassy: LUX: Matt Carter, Ben Cook, Alice Lea, Maria Palacios Cruz LUX Scotland: Nicole Yip, Luke Collins, Isla Leaver-Yap Film London: Rose Cupit, Maggie Ellis Martins the Printers: Chris Hardie, Andrew Hardie The Maltings Theatre & Cinema: Ruth Bolam, Daniel Cox, Neil Davidson, Cloudy Douglas, Lyndsay Flannigan, Ross Graham, Shona Hammon, Katie Hindmarsh, Ros Lamont, Jimmy Manningham, Wendy Payn, Steve Percy, David Purves, Matthew Rooke Charlotte Micklewright Murillo Cine: Cecilia Salim Newcastle University: Eric Cross, Mel Whewell, Ian McDonald, Paul Becker Northern Film & Media: Lauren Healey, Jen Hedley, Roxi McKenna, Clare Gomez, Rupert Lee, John Tulip Northumberland County Council: & Active Northumberland: James Fell, Sam Burgess, Wendy Scott, Fiona McKeown, Annette Reeves, Nigel Walsh The Newbridge Project: Charlie Gregory, Rebecca Huggan, Kuba Ryniewicz Hilke Doering, Lars Henrik Gass Adam Pugh Palace Green Pavilion: Paul Marshall, Merrick Thompson, Anne Forbs, Keith Smith Park Circus: Mark Truesdale Pavilion: Will Rose Susan Richardson Helen Rutherford Simpsons Malt: Richard Simpson Slightly Foxed: Simon Heald St. Aidan’s Church Hall: Maureen Hattle Tessa Sowerby Studio Filmowe Kadr: Tomasz Hagström, Talbot Rice: Stuart Fallon Video Data Bank: Ruth Hodgins, Abina Manning Virgin Trains East Coast: Moran Gordon Visit Northumberland Little White Lies: Adam Woodward Mirella Yandoli YHA Berwick: Siôn Gates Thanks to all those who have volunteered in 2016 Susan Ward Mhairi Derby-Pitt Maggie Chapman

Amy Lea Phil Lindsay Nick Jones Erica Boston Evelyn Mackie Deborah Hudson Teresa Newham Teen Redpath Edward Benn Jean Eisenhauer Bernie Eisenhauer Joanna Cavagin Madeline Cawthorn Susan Richardson Valerie Bistram Josie McChrystal Leonie Findlay Hilary Lowe Alison Jackson Gordon Williams Margaret Williams Faith Weddle John Thompson Lothian Webster Jill Dudgeon Dot Mutch Charlotte Cole Peter Hill Claire Jack Peter Guthrie Hannah Wealleans Elliott Young Andy Knight Francesca Hall Eleanor Hall Ellen Welsh Faye Carr-Wilson Holly Argent Biying Du Solomia Dzhu Emily Charlton Alexey Narykov Jasmine Matthews Heather Reid Ryan Peebles Daniel Magill Grace Oliver Sholto Dobbie Heather Murdoch Penny Grennan Jacqueline Dawson Oliver Dawson Adris Asghar Hedley Sugar-Wells Luyu Wang Holly Eva Estelle Baronello Kit Cawthorn Richard Mathew Routledge Thanks to all the schools who have participated Duchess High School Tweedmouth Middle School Tweedmouth Prior Park First School Tweedmouth West School Holy Trinity First School

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