Karissa Hahn, USA, 2015, 16mm, 2m
An old Regal Cinemas pre-show animation is further degraded as it’s run through a ringer of format transfers, each layer representing a different viewing space.
Steve Hates Fish
John Smith, UK, 2015, digital projection, 5m
Recorded from a smartphone screen, its translation app running on the wrong settings and struggling to interpret North London street signs in French and convert them to English, Steve Hates Fish turns errors into unintentional poetry.
Real Italian Pizza
David Rimmer, Canada, 1971, 16mm, 13m
Scenes outside a Manhattan pizza joint, shot over eight months from a fourth-floor apartment window. Men stand eating their slices and drinking their sodas alone; groups of friends and neighborhood acquaintances, mostly black, hang out, talking and laughing; a few cops, all white, march a man away in handcuffs; summer turns to winter. Preserved by the Academy Film Archive.
Now: End of Season
Ayman Nahle, Lebanon, 2015, digital projection, 20m
In the cosmopolitan Turkish city of Izmir, thousands of Syrians fleeing Assad, ISIS, and the proxy forces lined up behind them, bide their time, waiting to cross the Aegean Sea. On the soundtrack, voices from a previous war.
See a Dog, Hear a Dog
Jesse McLean, USA, 2016, DCP, 18m
This tragicomic analysis of communication between humans, animals, and machines was made with original video footage, computer animations, and internet media, including YouTube dog videos, chatbot dialogue windows, and images from iTunes visualizer.
Twixt Cup and Lip
Stephen Sutcliffe, UK, 2016, digital projection, 23m
North American Premiere
This sound and video collage, produced in conjunction with a museum exhibit about Yorkshire playwright and novelist David Storey, draws from BBC outtakes, Edwardian-nostalgic commercial design, and other sources of mid-century British middlebrow to consider the vagaries of class mobility.