Wittnerchrome, Exacto Knife, Fishing Line, Sewing Machine

Wittnerchrome, Exacto Knife, 1.5mm Letter Punches, Hammer, Leather Puncher

This is a feminist critique of the Oedipal complex. The filmmaker recounts an abortion she had in 2009. The aborted child survives and becomes her lover. Her subject is filmed in a private act, complicating what could be an act of the solitary.

Shot in Naples, Vienna, and New York, Some Chance Operations explores the notion of an archival form, in this instance film, as an unstable memory receptacle that can vanish. History and how it is made is meditated upon as one of many chance operations. The filmmaker Elvira Notari, who had a film production company in Naples from 1906 to 1930, plays a significant role as an impetus for Some Chance Operations. Despite the fact that she was a prolific filmmaker, producing over sixty feature films, only three remain intact.

Rosa Barba produced a science fiction film based on interviews with local residents and individuals involved in the land suppletion project for Maasvlakte 2. Barba asked the interviewees to imagine what this new land could look like in the future. While we see images of the new land, the slufter: a storage reservoir for heavily contaminated sludge from the new Meuse river, the construction of the huge docksides, basalt blocks, empty containers and the mechanical movements of the transhipment process, we listen to a story apparently taking place in the future.

An adaptation of the gruesome and fantastical ending chapter of the notorious experimental anti-novel Maldoror, first published in 1868 and written by a young man (who died soon after writing it) who called himself Comte De Lautréamont. A joyful return to the necessity of Super-8 film tricks, this is part of a larger Anglo-German collaborative feature film Maldoror, shot entirely on Super-8 in sections by 15 underground filmmakers working independently. Includes Super 8 Film, model animation, photo animation and live action.

Part of paraconsistent sequence series and the hauntology series.

Part of paraconsistent sequence series.

Spell Reel is an archive of film and audio material from Bissau, Guinea-Bissau. On the verge of complete ruin, the footage testifies to the birth of Guinean cinema as part of the decolonising vision of Amílcar Cabral, the liberation leader who was assassinated in 1973.

“Spellbeamed uses the acts of translation and transcription to amplify the questions: ”what is a score?” and “what kind of musicalities can be transmitted through extended ideas of scoring?” The inspiration for the piece was the archival collection of the great literary and cultural critic Walter Benjamin. The Benjamin Archive is a collection of texts, lists, commentaries, scraps, markings, dreamy musings, constellations, word fragments, toys, postcards and books.

Stasi is an audiovisual recall of the political and social substrates that sustain an actual system of images. Stasi is a recall of a system of images that, even now, dominates the global gaze of the world.

Formally eclectic but heartfelt tribute to the holiday home movie heritage of low gauge formats.

Shot over 3 holidays, and including a dream I had about rescuing a cat from Norway, Stay … is my attempt to pay homage to 8mm’s home movie heritage. It’s pre-digital, so originally cut and shown as sticky tape spliced celluloid. Though rough hewn it’s a film that I still maintain a great fondness for.

p.s. The Wales section is shot on Single 8.

According to Harun Farocki, today's photographers working in advertising are, in a way, continuing the tradition of 17th century Flemish painters in that they depict objects from everyday life - the "still life". The filmmaker illustrates this intriguing hypothesis with three documentary sequences which show the photographers at work creating a contemporary "still life": a cheese-board, beer glasses and an expensive watch. 

A call from the beginning, the ancestral water, the everlasting belly from where life cries out.

This is the second part of the hyperkinetic still life. This triptych is part of the Hyperkinetic and Hauntology film series.

This is the third part of the hyperkinetic still life. This triptych is part of the Hyperkinetic and Hauntology film series.

still/here is a meditation on the vast landscape of ruins and vacant lots that constitute the north side of St. Louis, an area populated almost exclusively by working class and working poor African Americans. Though it constructs a documentary record of blight and decay, still/here is a refusal of closure that dwells within the space of rupture and confronts the presence of a profound absence.

–– Christopher Harris

Camera, sound, edit: Christopher Harris

Additional camera: Joel Wanek

Part of super 8mm films series.

This suite is a set of circular and fragmented compositions, in which a rhythmic and haunted dance hides an eroded lunar landscape. The microscopic rubble of our contemporary civilization. Part of the Lunar Films series.

Part of paraconsistent sequence series.

The Politics of Breathing: Tear Gas.

This is our contemporary Mesoamerican temple, restored from an asymmetrical and intermittent grammarchy in motion.

In the center of the rising Temple, the history, myth, ancestral and infrareal combine their rhythms into the cycle life of ritual cinema. Trance and shamanic visions arise into the ancient Teocalli.  

Experimental but heartfelt, all fiction + mostly video.

Featuring: phantoms, parakeets, some animation, much smoke, Super 8 hi-jinks, several actors.

The Sun Quartet is a solar composition in four movements, a political composition in four natural elements, an audiovisual composition in four bodily mutations: a sun stone where youth blooms in protest, a river overflowing the streets, the burning plain rising in the city. And, finally, the clamor of the people that shook Mexico after the night of September 26, 2014. The disappearance of 43 students from Ayotzinapa opened a breach in the Mexican political body.

The Sun Quartet is a solar composition in four movements, a political composition in four natural elements, an audiovisual composition in four bodily mutations: a sun stone where youth blooms in protest, a river overflowing the streets, the burning plain rising in the city. And, finally, the clamor of the people that shook Mexico after the night of September 26, 2014. The disappearance of 43 students from Ayotzinapa opened a breach in the Mexican political body.