1084 N MILWAUKEE, CHICAGO

INAATE/SE/

[it shines a certain way. to a
certain place/it flies. falls./]


Friday, September 22 at 8 PM, $7-10
Part of RUN OF LIFE
Experimental Documentary Series
Director Adam Khalil, in person!

 

History is written by the victors, but this film reminds us
 that the history of the oppressed can still be saved from being extinguished. Native American video artists Adam and Zack Khalil here reclaim the narrative of the Ojibway of Sault Ste. Marie, in Michigan’s Upper Peninsula, from the archives and museums that would confine it to the past. Using personal interviews, animated drawings, performance, and provocative intercutting, the Khalil brothers’ feature debut makes a bold case for the Ojibway people to be their own storytellers—while seeking a cure for the damage inflicted by colonization—in a spiritual reconnection with tradition.

Read an interview with the makers here.

Program Details:
INAATE/SE/[it shines a certain way. to a
certain place/it flies. falls./]
Directed by Adam Khalil, Zack Khalil.
(2016. USA/Canada, 75 min.)

Adam Shingwak Khalil (Ojibway) is a filmmaker and artist. His practice attempts to subvert traditional forms of ethnography through humor, relation, and transgression. Adam’s work has been exhibited at UnionDocs, e-flux, Maysles Cinema, Microscope Gallery (New York), Museo ExTeresa Arte Actual (Mexico City), Spektrum (Berlin), Trailer Gallery (Sweden), Carnival of eCreativity (Bombay), and Fine Art Film Festival Szolnok (Hungary). Khalil is a UnionDocs Collaborative Fellow and Gates Millennium Scholar. In 2011 he graduated from the Film and Electronic Arts program at Bard College.

Zack Khalil (Ojibway) is a filmmaker and artist from Sault Ste. Marie, Michigan, currently based in Brooklyn, NY. His work often explores an indigenous worldview and undermines traditional forms of historical authority through the excavation of alternative histories and the use of innovative documentary forms. He recently completed a B.A. at Bard College in the Film and Electronic Arts Department, and is a UnionDocs Collaborative Fellow and Gates Millennium Scholar.

 

 



Filed under: animation, artist in attendance, collaboration, documentary, experimental, geography, history, home movies, landscape, narrative, rural, social justice, Uncategorized

THE DESTROYING ANGEL

With LOADS by Curt McDowell


Thursday, September 14 at 8 PM, $7-10

 

THE DESTROYING ANGEL (Peter de Rome, 1976)
62 minutes, Digital File

The second and final feature by BFI-recognized experimental/erotic filmmaker and recent documentary subject Peter de Rome, THE DESTROYING ANGEL is a film truly unlike any other. A complete hybrid of horror movie and hardcore, its very loosely Poe-inspired story focuses on priest Caswell Campbell who is on sabbatical from seminary and, feeling torn between the pleasures of the flesh and his call to the cloth, indulges in an escalatingly bizarre series of psychotropic mushroom-feuled sexual experiences, all while being plagued by haunting visions of his doppelganger. Though more of its screen time is spent on sexual acts than in much of de Rome’s other work, THE DESTROYING ANGEL’s sex scenes are anything but traditional, growing increasingly surreal and deconstructed throughout the course of the film, advancing the plot and themes, and functioning as creepy hallucinatory episodes for the viewer. Accurately critically called “a mess but a masterpiece,” THE DESTROYING ANGEL’s weird blend of elements (including over-the-top acting, beautifully-edited psychedelic imagery, and a few jaw-dropping sexual feats) makes for a thoroughly watchable film that manages to be simultaneously campy and artful; erotic, frightening, and fun. (Screening thanks to Bijou Video.)

 

LOADS (Curt McDowell, 1976, released 1985)
19 minutes, 16mm on DVD

With LOADS, Curt McDowell–the preeminent satyr of underground lust–puts his hand, mouth, and camera where the money is: in and out of the underpants of tough, sometimes tender, alluring straight men. Shameless, touching, resplendent in body heat, LOADS remains a rhapsody to fluidity and flexibility, a seminal masterpiece in every way.

Special thanks to his sister Melinda McDowell Milks, who’s generously allowing us to screen it.

Programmed by Julia Zinn and Edward E. Crouse



Filed under: 16mm, experimental, film, history, queer, Uncategorized

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