Passages guest curated by David Dinnell

Nov. 16 + 17 - 7:30 pm
$8 Suggested
Curator in attendance
NXT Industries
1302 SE Martin Luther King Jr. Blvd

About This Screening

​Nineteen contemporary films of animation, fiction, abstraction, observation and motion studies—both personal and scientific—are presented in two diverse programs, including three rarely presented works for multiple 16mm projections.

Program Details

November 16th

​The first program is centered on Madison Brookshire and composer Tashi Wada’s Passage, a work for two overlapping 16mm projections of slowly shifting fields of color accompanied by twin violin canons creating arcs of sound; and bookended by Neil Beloufa’s Kempinski, an “ethnological sci-fi documentary” and Greta Snider’s humorously reconstructed travelogue Portland. Other works include an animated journey into the psyche from Portland-based artist Laura Heit in The Deep Dark; a contemplative depiction of a seemingly unreal and ironic tragedy in Janis Rafa’s Requiem to a Fatal Incident; and from Ephraim Asili, parallel observations of Harlem, New York and Salvador, Brazil, set to jazz multi-instrumentalist Joe McPhee’s extemporaneous score in Many Thousands Gone.

  • Kempinski
    by Neil Beloufa
    Mali/France, 2007, DV, color, sound, 14 min.
  • Requiem to a Fatal Incident
    by Janis Rafa
    Greece/The Netherlands, 2015, HD, color, sound, 5 min.
  • The Deep Dark
    by Laura Heit
    US, 2011, HD, color, sound, 8 min.
  • Flower
    by Naoko Tasaka
    Japan, 2013, 16mm to HD, color/b&w, sound, 20 min.
  • Passage
    by Madison Brookshire and Tashi Wada
    US, 2003, 2 x 16mm, color, sound, 15 min.
  • Falling
    by Robert Todd
    US, 2015, 16mm, color, sound, 6 min.
  • Many Thousands Gone
    by Ephraim Asili
    US/Brazil, 2015, 16mm to HD, color, sound, 8 min.
  • Portland
    by Greta Snider
    US, 1996, 16mm, b&w, sound, 12 min.
November 17th

​The second program begins with Charlotte Pryce’s work of alchemy Prima Materia; Mika Taanila’s dual 16mm projection performance work of 1945 scientific film footage in The Zone of Total Eclipse; Helmut Völter’s assemblage of early 20th century time-lapse films of the clouds over Mt Fuji in Masanao Abe-Cloudgraphy; and continues with personal observations of landscapes of Morocco in Terra Long’s 350 MYA; the Hudson Valley in the sublime Landscape (for Manon) by the late Peter Hutton; a vast solar array in the Mojave Desert in Irradiant Field by Laura Kraning; Water Department workers listening to leaks in the infrastructure beneath Cleveland in Sound That by Kevin Everson; a Ponderai Native American family hunting wild bison in Yellowstone in Elizabeth Lo's Bisonhead; a Vancouver harbor filmed over two years in the dual 16mm projection of Canadian Pacific I & II by David Rimmer; and the western landscapes a father and son separately traversed in Sky Hopinka’s moving Jáaji Approx.

  • Prima Materia
    by Charlotte Pryce
    US, 2015, 16mm, color, silent, 3 min.
  • The Zone of Total Eclipse
    by Mika Taanila
    Finland, 2006, 2 x 16mm, b&w, sound, 6 min.
  • Masanao Abe-Cloudgraphy
    by Helmut Völter
    Germany, 2015, 35mm to HD, silent, sound, 6 min.
  • Landscape (for Manon)
    by Peter Hutton
    US, 1987, 16mm, b&w, silent, 12 min.
  • 350 MYA
    by Terra Long
    Morocco/Canada, 2016, 16mm, color, sound, 5 min.
  • Lunar Almanac
    by Malena Szlam
    Canada, 2013, 16mm, color, silent, 4 min.
  • Bisonhead
    by Elizabeth Lo
    US, 2015, HD, color, sound, 9 min.
  • Sound That
    by Kevin Jerome Everson
    US, 2014, 16mm to HD, color, sound, 11.5 min.
  • Irradiant Field
    by Laura Kraning
    US, 2016, HD, color, sound, 10 min.
  • Canadian Pacific I & II
    by David Rimmer
    Canada, 1974-75, 2 x 16mm, color, silent, 9 min.
  • Jáaji Approx.
    by Sky Hopinka
    US, 2015, HD, color, sound, 8 min.

© Cinema Project 2003 - 2016