REEL Homegrown short picture screenings

A short film is a snippet of a conversation without an obligation to a continue or to conclude. It is a thought pulled out from the web of sense-making. A thought is a structure-free object composed of imagination and reality.

Film like any artistic medium opens the door for experimental communication – conscious or not, rehearsed or improvised.

Biweekly cinema series invoking visual and multi sensory stimulation exploring deep and seductive short films created in brooklyn or by brooklyn creatives. Nora Simona guides the audience through a loose poetic experience for every picture.

 

 

Reel Homegrown #6

In between –uncertainty, transition, instability. In between the state of departure and arrival, stuck in a hallway, trapped on a sidewalk – not quite on the streets but also not quite at home. Already left but not quite yet arrived.

Uncertainty of I as I is in a contentious in between state of now and future aspiration. Uncertainty of I as somewhere paralyzed and unable to understand whether dreams invade and terrorize reality or reality becomes a haunting dream.

Elliot Levy – Sidewalk Tacos

Living on a sidewalk. Vulnerability of displacement. “Trump” truck at the other side of the street - an omen of fragility of one’s own status. But “unless they come to your face, or to your door, you have to work normally.”

Sidewalk Tacos provide an account of an immigrant life running a food truck in times of political uncertainty, of being invited through the door and kicked out on the streets. Nevertheless, the life on a sidewalk can still be very dignified and scrupulous. 

 

Leah Shore - Hallway Turbulent and often violent love affair with yourself occurs at the party and leaving it is like breaking off a self-abusive relationship. The two girls and lovers in the film might as well be the same person, being dragged in opposite directions of a dark hallway – in between the party, where immersive meanings manifest through music within the present, and life without a party in search of meanings that outlive the present. The deep techno beats in proximity to the characters invoke a state of simultaneous resonance and nausea – painfully familiar sensations to all of those who have ever chased and chased away the party, that never-ending present moment, which captivates and invokes anxiety over its eternal temporality because although as every alive you can bet there, there is not life. 

Leah Shore - Hallway

Turbulent and often violent love affair with yourself occurs at the party and leaving it is like breaking off a self-abusive relationship. The two girls and lovers in the film might as well be the same person, being dragged in opposite directions of a dark hallway – in between the party, where immersive meanings manifest through music within the present, and life without a party in search of meanings that outlive the present.

The deep techno beats in proximity to the characters invoke a state of simultaneous resonance and nausea – painfully familiar sensations to all of those who have ever chased and chased away the party, that never-ending present moment, which captivates and invokes anxiety over its eternal temporality because although as every alive you can bet there, there is not life. 

Crimson Sinclair – Sleep Paralysis

 

“I don’t know why it happened. I don’t know why it stopped.”

Caught up at the threshold of sub-conscious mind. Known and familiar but suddenly uncanny surroundings of your bedroom invoke terror. Stillness of the body as if you’re dead already, unnerving of the mind as if it exists as an entity of its own – unexplored, unpredictable, uncontrollable.

The state of in between awareness of and being dominated by fragments of one’s own dreams. 

 

BIND

BIND

Reel Homegrown #5

A short picture is a visual poem. Each film is introduced with a bespoke poem by Nora Nostrand  

Bind | Lock  – Marek Pavlovski

~Forget and forgive but remember~

"Just like a tree who loves the summer

but really doesn't hate the weather

because he knows-

one can not ever trust December.

It always kills the leaves and all the flowers,

and turns the birds to fly for days and hours" 

 

Beware, Beast I Worship – Adam Chitayat

Perhaps, Perhaps, A Dangerous World – Rosa Booth

~Bedstuy Deli Poetry~

I stormed into the corner store and threw my purse on the ice cream fridge, right on the double sliding door, when the guy next to me- I swear I didn’t see him- was like

"Hey miss, I need to close this!"

You see, the door was open, my bag was hanging in the cold, but my mind was busy, or my eyes got bored

to discern between shades of air and glass and plastic,

to protect me, for too long!

I mean, have you ever missed seeing a screen door and banged it with your heads? A window perhaps? Anyways, I looked at him surprised like I’ve just seen a sinkhole instead, and said:

"Sorry, I didn’t see the glass door open. maybe because it’s transparent!?"

"Yes!" And without an extra breath or a blink meant to buy him a minute

and FUEL the way he Should  think,

he continued:

"yes, the glass is as transparent

as you are beautiful."

And my mind was back in the present, because that lobe of my brain, whichever is the one reacting to talent, had woke me up and slowed my pace, reminding me that poetry is hidden in every single place.

You only have to look for it. And it happens a lot in Brooklyn.

Not everything will turn into a catcall, a slashing or a shooting.

~~~~Nora Nostrand @noranostrand 

Come for an evening of immersive poetry - phonetic, visual, imaginary. 

 

Reel Homegrown #4: Interview with director

Timour Gregory

Directing is a live learning experience.

Having this interview was a very ad hoc but quite natural idea. I wanted to pick Timour’s brain because his work was engaging on a very human level. The interview was largely improvised - intentionally. I came up with some guiding questions whilst reflecting on his work during my 15min train ride.

We tried to talk about his work for UNICEF but it was not that engaging-working for a client is not directing - it is producing.  I concurred, so we quickly moved on to the juice of being a film director –inception and process of artistic production, the dynamic relationship between concept and intention, the relationship of film to reality, and film as an interactive artistic medium. What is below – is a conscious reflection on Timour’s work weaving in his ideas about the practical and artistic experience of directing and my experience of watching two of his short films – Lukas, a narrative film, and Negotiated Dignity, a documentary.

Lukas taps into interpersonal alienation and a desperation driven attempts to [re]connect with someone who is already positioned to be closer to us than anyone else. A subtle coming of age film. Characters are grounded in reality and co-directors’ personal experiences. Adam [co-director] was going through a divorce. I am familiar with the relationship dynamic of being raised by a single dad. Single moms do better job than single dads. Dad is terrified.

The father-son dynamic as seen from the father is so ingeniously reflected in one of the scenes where the dad is looking for Lukas and notices and approaches a boy on the corner dressed like Lukas but too tall – the scene conveys desperation and loss of touch with one’s rational mind. The scene almost got cut in post-production – due to low production cost we could not finish it in time, so in the film, the sun is still up when dad starts running down the block and it is night time when he reaches the corner. This runs the risk of removing the viewer from the film world.

Interestingly, watching Lukas I had quite the opposite experience. To what extent can the director control the way his work is experienced?

In Negotiated Dignity makes a conscious decision to show director’s presence in the documentary process and break the wall between the film subject and director, making the viewer aware of the film and obscuring the film world with reality.  I wanted the viewer to walk in the shoes of the director of this film. There is no agenda in that movie just objective exposure to a shared sense of humanity. In fact, the footage consist of capturing random occurrences that happen in a couple of weeks. Does it lack something without having a specific character to follow? From the technical perspective of narrative development – yes. But refugee camps become the subject of its own, with life of its own, character of its own generated by thousands of its temporary trapped liberated residents.

The flow of Negotiated Dignity, where somewhere into the picture director becomes a listener as opposed to developer opens up questions about the creative process of film-making. How a concept is born? Is film driven by a concept or by an intention?

The concept – intention dynamic in filmmaking is complex. I have projects which are highly intentional and conceptual and then others which are more the result of circumstances. Some of my features, like ‘Revolutions per minute” emerge from wanting to explore several concepts - the role of the artist in society, the relationship between racial and national identities - and then crafting a screenplay to do that. But those types of projects can take years to get off the ground. There are projects where the first intention is just to 'make a film', using an executable script and utilizing the immediately accessible talent. ‘Lukas’ is one of those projects, where the theme did not lead the development process. In that instance what came first was wanting to make a film, wanting to create. I feel unless you have unlimited financing, it is important to make films from that second category - sometimes less perfect, less intentional than the first - because otherwise you run the risk of not directing for years and years and thus not growing as an artist.

A film can be driven by themes, genre, need to direct – the unconscious intention drives the concept.

Stream A Negotiated Dignity free online

Timour Gregory Official Website

Follow Timour on Facebook

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REEL Homegrown #3

Serena Reynold - Collected Kingdom

Charlie Cole - Waterfall a Memory; Cinematography Reel

Rex Detiger - Love

A short film is a snippet of a conversation without an obligation to a continue or to conclude. It is a thought pulled out from the web of sense-making. A thought is a structure-free object composed of imagination and reality.

For Charlie Cole in Waterfall A Memory  a thought is a regurgitated memory that lingers like a silhouette reflection in the water or a still of an isolated image. The short film drowns the viewer in a thought so painfully difficult to articulate although heavily present in the protagonist's mind.  

After all, what has a thought to do with word and a word with reality and reality with meaning? Is reality not but a mind game in the playground at the intercept of imagination and action - Collected Kingdom by Serena ReynoldsOr maybe as for Detiger in Love word is the thought that keeps echoing on the screen   juxtapositioned against no image that would attempt at imposing meaning apart from the image of a thought becoming the word itself.

Charlie Cole work http://www.drawingthefilm.com