A drummer and guitarist on a rooftop high above New York City. A beat, a song, a trance, or just a celebration…?
The film is a durational performance document, direct but mysterious.
The Double are Jim White and Emmett Kelly. Jim is an Australian drummer known for his work with Dirty Three, Xylouris White, Cat Power, Bill Callahan, and many others. Emmett Kelly is an American guitarist known for his band, The Cairo Gang, and his work with Will Oldham, Ty Segall, and many others.
“Animists are people who recognise that the world is full of persons, some of whom are human, and that life is always lived in relationship with others.”
-- Graham Harvey, Animism
Trance dance and water implosion, a kino-line drawn between secular freak-outs and religious phenomena. Filmed in a single take at a sacred site on the Upper Suriname River, the minor secrets of a Saramaccan animist's everyday are revealed as time itself is undone. Rites are the new Trypps -- embodiment is our eternal everything.
Why Not A Sparrow is about a girl who enters a fairy tale land where the distinction between human and other animal species is blurred. In this kingdom, survival and extinction are on the tip of every birds’ tongue.
"An Eco-Fable about a girl, a rare bird, who experiences the pleasures and perils of another animal kingdom."
— Big Muddy Film Festival, 2002
DIRECTOR’S STATEMENT/SUMMARY: This film centers around one performance, when Holland-based musicians, The Ex, visited New York to play a concert. This performance is intercut with city scenes, first from Amsterdam and then New York, of construction sites, street life, and protests against the Iraq war and the Bush administration. The construction site scenes relate to the band's dedication to music as a realm for collaborative building and creative destruction.
In the spell of one of the most exquisite pop songs I know, with the most rudimentary of animation skills, I sought to produce a smooth and rapid transition from innocuous kindergarten silliness to faux-Lynchian horror. As with Gaijin, I exploited the then-novel Google image search heavily for this video.
A video work that documents the annual orchid show at the New York Botanic Garden, Orchid Show critically observes notions of spectacle, gender and beauty as a query into the staging and imaging of nature. For the audio, the sounds of the garden fold into a classical composition for piano, Kaleidoscopic Changes on an Original Theme, Ending with a Fugue (1924) by Ruth Crawford Seeger, one of the few celebrated female composers of the early 20th century.
Some forms we can only know by their shadow. In homage to the spirits of space test dogs, or any being we use in the name of progress.
This video was made by invitation of composer Olivia Block for the release of her album Innocent Passage in the Territorial Sea (Room40).
Composer: Olivia Block
Additional Imagery: NASA, Jeremy Inglis, Suan Hsi Yong
In The Jungle playfully and sorrowfully tells the tale of an unreliable narrator in a self-imposed exile. Given a grant to study the equivalent of animal cries and whines in jungle flora our heroine has lived for 1,612 days deep in an unnamed jungle. This jungle serves as an extended metaphor for excessive and continual growth and death and fear and sustenance; a metaphorical space of chaos in which the scientist finds solace and which stands in contrast to the human jungle of 'civilization'.
A sort-of music video that focuses on and under young women and men engaged in focusing video and movie cameras on other young men and women.
This title is also available on The World of George Kuchar.
“Drawing on the ancient Nahuatl concept of the animating soul or life force, Tonalli engages the ritualistic powers of the cinema, summoning fire, flowers, and many moons into a frenetic and mesmerizing in-camera collage. Here, amid thickly swirling images and textured abstractions, the gods of creation and fertility manifest, dissolving into iridescent colors and dense, corporeal rhythms.” NYFF59
Using a pulsing rock soundtrack and music video-style editing, X-PRZ combines archival footage of Malcolm X, advertisements, and corporate logos in No Sell Out to provide a scathing commentary on commodity culture.
Commissioned for the Ocularis curated Free to Be…You and Me Invitational compilation, which premiered at Brooklyn’s Galapagos Art Space and also screened at Chicago Filmmakers, where Mercedes Landazuri and I performed a banjo and synth rendition of “It’s Alright to Cry” (the song that followed Dudley Pippin on the compilation).
The University of Virginia gospel choir Black Voices returns home from a triumphant concert in Hampton Roads.
This title is only available on Can You Move Like This: Black Fire.
A high and low fidelity record of obsessions past and present. A hooded man named Cobra Commander (drawn naked) and a boy with black glasses. A fanged woman named Shadow-La and a girl in a rose colored wig. Belinda (Heaven on Earth), Madonna (Live to Tell), and headphones (worn naked). An airport terminal. Home. The Montgomery Ward catalog circa 1980. That orange bedspread, that red flowered couch.
In 1985, Hassan Zbib and Olga Nakkas separately started to develop film scenarios based on simple narratives, and would shoot them on Super 8, which was still possible to develop in Beirut at the time. Their work featured the city as a stage where lonely characters drifted: a taxi driver in his car, a man walking around, talking to a Rambo poster.
amaurosis is an experimental documentary about Dat Nguyen, a blind guitarist living in Little Saigon, Orange County, California. Dat Nguyen was a "triple outcast": blind, Amerasian, and an impoverished orphan. His American father left Viet Nam in 1973, and his mother died in 1975. Living on the streets of Saigon, he sold lottery tickets for food money. At the age of 12, Dat met a classical music teacher who was also blind and who taught him to read Braille as well as supported him.
This film originated as an expanded portrait of artist Carol Bove as she created four monumental sculptures commissioned by the Metropolitan Museum of Art. One week after filming began, New York City went into its first pandemic lockdown. Filmed against the backdrop of the progressing pandemic, Medium evolved into a meditation on materiality and the artist as a medium through which ideas move into the world.
"The human ear. A gatherer of energy. A gatherer of sound. RPMs and BPMs. Satellites go up to the sky."
In the video Satellite, Nelson Henricks combines found footage and techno beats to question western society's ongoing obsession with science, technology and the future. Juxtaposing images derived from old educational films with absurd, aphoristic slogans, Henricks offers up a witty, entertaining and provocative commentary of our need to make sense of everything, at any cost.
Shot with my students at the San Francisco Art Institute, this colorful drama with song and dance numbers (plus burlesque acts) follows the libidinous poisoning of Vatican personnel by an otherworldly intruder. The cast is mostly young and vibrant and the songs staged as opulently as possible on a $400 budget. Anyone interested in these collaborative productions will find a lot to gawk at in this backstage romance with pagan overtures galore.
A glittering, Las Vegas-inspired music video for John Sex’s song "Bump and Grind It". With an outrageous fountain hairdo (by stylist Danilo), Sex sings his catchy pop lyrics, “You gotta put your love behind it/Bump, bump, bump and grind it.” Featuring the Bodacious Ta-Tas and inter-cut with Vegas showgirl footage.
This title is also available on Tom Rubnitz Videoworks: Sexy, Wiggy, Desserty.
In January 2001, the KEN BURNS’ JAZZ promotional blizzard hit New York City. Billboards, banners on buses, elaborate retail displays in book and record stores, feature coverage in every major print, radio and TV outlet, chatter around the water cooler at the office — total saturation.
