Flicker & Wow: Delphi Falls

December 6, 2017 · The Pilot Light · 7:00 P.M.

A program of six recent short films by American women.

fw-cook

Trans/Figure/Ground

Lauren Cook, USA, 2016, 5m
A film about uncanny valleys and the space between. Painted 16mm film undergoes a monstrous transformation becoming neither analog nor digital.

 

fw-mclean

Wherever You Go, There We Are

Jesse McLean, USA, 2017, 12m
In this experimental travelogue, efforts to sound human and look natural go awry. The scenery is provided through photochromed vintage postcards, displaying not only scenic North American landscapes but also the rise of infrastructure and industry. Aspiring to look more realistic by adding color to a black and white image, the postcards (already a vulnerable method of correspondence caught between private and public) instead become documents of the fantastic. The road trip is narrated by an automated correspondent (all dialogue is taken from spam emails) who is seductive and mercurial, his entreaties becoming foreboding and obtuse, in a relentless effort to capture our attentions.

 

fw-freyer

dragons & seraphim

Sasha Waters Freyer, USA, 2017, 14m
Ancient flowers and animal desire. The past rises up – a mirage, but I can’t bury it deep enough. Fever season of magic, madness: adolescence. It’s their turn now, a willing sacrifice. Ours is no caravan of despair. Sound design by Stephen Vitiello; poem “Childless” by Michael Morse.

 

fw-mack

Wasteland No. 1: Ardent, Verdant

Jodie Mack, USA, 2017, 5m
A eulogy for wasted potential sends the out of date to the out of body: trash to treasure. An appetite for destruction charts the product life cycle, interrupting the horizon through an intersection of perspectives.

 

fw-clark

Delphi Falls

Mary Helena Clark, USA, 2016, 20m
In Delphi Falls, two youths wander through the woods, looking for a missing person. A tree falls without cause, a voice is thrown, the weather defies the season, unsettling the rational and linear trajectory of the feint of a story. Evoking the sci-fi genre, the film constantly shifts its point-of-view, blurring the distinctions between environment and self, grafting an interior space to the landscape.

 

fw-hahn

Yuji Kondo ‘Suicide Ocean’

Karissa Hahn, USA, 2017, 5m
Super 8/digital music video made for Yuji Kondo’s ‘FACES PAST’ LP