2013 shooting wall film festival program

7/28/2019 2013 Shooting Wall Film Festival Program

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2013 Shooting Wall

Film Festival

Our idea of starting a film festival goes back to the very beginning

of Shooting Wall. All of us were and continue to be frustrated

with the state of the American (and even international) film festi-

val; they are either too big and inaccessible for the no-budget

filmmaker or too wrapped up in civic and indie spirit to offer

any kind of new and innovative programming. Aside from the

programming problems nearly every festival suffers from, they can

also be a fortune to submit to and, even if on the off chance your

film gets selected, it is hardly worth the trouble anyway. Shooting

Wall has always seen ourselves in opposition to these practices. In

our writings and ideas, we have always presented ourselves as an

alternative to all things Hollywood, Indiewood, and any other

centralized form of cinema; we think of our film festival in the

same way. We are not interested in putting Philadelphia on the

map or in becoming a non-profit or in capitalizing on the indie

film scene; instead, our festival is first and foremost about cinema.

We have attempted to create a film and filmmaker centric film fes-

tival. We are not trying to make money or a career out of a film

festival; we simply want to highlight some new and interesting

films made by filmmakers who are working far, far away from the

system. Our festival is for the filmmaker and for the cinephile. We

attempt to offer a program for those who want to think about and

critically engage with cinema. If the films screened here today canget people talking, arguing, or generally consciously engaging

with cinema, then we think the festival has been a success. This

film festival is for those who love cinema and hate what it has be-

come. This film festival is a step toward creating a true alternative

to a system that no longer has a place for radicals and innovators.


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Not Far From HereNot Far From HereNot Far From HereNot Far From Hereby Tessa Garland5m, U.K., [email protected]

Not Far From Here combines live ac-

tion and animation. The work is staged

around a suburban house and a domes-

tic shed set within a wooded area. The

video is a nonlinear work that evades

narrative and works more as a montage

with the central character appearing and

disappearing through its various locations. During the sequence, the banality of the sub-

urban setting is interrupted by a parallel world suggesting an alternative reality and one

which is charged with psychic activity.

Not Far From Here is an atmospheric piece that embraces techniques found in both

filmmaking and theatre. The layered passage of imagery uses strong lighting, constructed

sets, special effects and sound to build a dreamlike world that blurs the boundaries of

fiction and reality. www.tessagarland.com

(excerpt) Society of the Spectacleby Heath Schultz 14m, [email protected]

The Society of the Spectacle (2013) takes Debords film of the same

name as a starting point and skeleton for a new video project,

which might be called a dtournement of the original. Dtourne-

ment, for Debord, was communication which includes a critique

of itself, and the flexible language of anti-ideology. Thus, it is

the only way in which one can resist falling into the trenches of

dogmatism. In re-stating SoS in 2013, it must be revised and simul-taneously plagiarized, and it is in this vein in which I re-introduce

this project. Ideas improve. The meaning of words plays a role inthat improvement. Plagiarism is necessary. Progress depends on it.

It sticks close to an authors phrasing, exploits his expressions, de-

letes a false idea, replaces it with the right one.

I offer the film with the modest hope that it might contribute to a

deepening of a theoretical analysis and contribute to a culture ofanti-capitalist cultural production. The entire film can be viewed

at heathschultz.com.

The Edge of the World byJillHackney10m,[email protected]

ShotentirelyinSaudiArabiainOctoberof2012,EdgeoftheWorldis

anattempttodecoctemotionsandexperiencesviacinematiclum-

mery.


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e Ace of Spades by Sophie Asia11m, UK, [email protected]

A short film about a boy who struggles to be happy. Tadek Chmiel

as Finn / Grace Gallagher as the Girl / Music by Julie Elven -"Arrivav" / Directed, Edited & Written by Sophie Asia / Produced

with love by a cast and crew of 3 on a next-to-nothing budget and a

broken tripod.

UnavoidableUnavoidableUnavoidableUnavoidable

Spectacles orSpectacles orSpectacles orSpectacles or

The End ofThe End ofThe End ofThe End of

TimeTimeTimeTime

by Joshua Martin 27m,[email protected] women contemplatethe end of time.Starring Liz Taddei, Angela Riccetti / And Josh Christensen, MichaelBee/Voice Jill Hackney/Music Paul Akerman, marcD, John Nectar /Additional Music Josh Christensen/Crew Marc Dickerson, Dan Dicker-son, Mike Gallagher, Karl Starkweather/Photographed by Jill Hackney

by Kelly Gallagher I Am the Mace4m, [email protected]

Kelly explores the more tangible and palpable aspects of filmmaking. She's

interested in utilizing processes of animation including cut-out/collage,

hand-painted and scratched celluloid, hand-painted rotoscoping, stop-

motion, etc, to make handcrafted films about the politically radical top-

ics she's interested in: overlooked histories and herstories of revolution,

resistance, and struggles against exploitation, racism, patriarchy, capital-

ism, and colonialism. www.purpleriot.com. Cast: Kelly Gallagher, as her-self / Crew: DP - Joshua Yates & Sound - Kristen Degree,/ Director, Editor,

Animator: Kelly Gallagher

A Snail in a Woman's Skin by Rob Playfair16m, UK, [email protected]

A nervous scientist starts to notice a change from within;

will she embrace this new self which repels everyone else? A

horror-metamorphosis short which blends Tsai Ming Liang

with Shinya Tsukamoto. www.vimeo.com/milkandhoney


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The Numbers Fahrenheitby Derick Crucius 4m, [email protected]

The Numbers Fahrenheit is an experiment with sound and

color. Throughout the film, both the visuals and the soundbecomes more intense, throwing the viewer into a form of

mediation. My goal was to create something similar to the

likes of Stan Brakhage & Len Lye, but with a soundtrack

that provokes an intense emotional response. Ink & Dye on

Bleached 16mm film. Film & Sound by Derick Crucius

by Rob Marvin Merry Christmas, BabyMerry Christmas, BabyMerry Christmas, BabyMerry Christmas, Baby13m, [email protected], hot, big city, TV thera-pist, DR. JILL THERAPIST re-

ceives a letter from an interest-ing young lad. She decides tovisit him over the holidays.Then whatever else happensafter the opening credits.CAST/CREW: just Rob Marvin/Jill Hackney/Jon Seidman/John Kingston all across the board.

? ? ? ? HowHowHowHow IsIsIsIs OneOneOneOne ToToToTo LiveLiveLiveLive by Robert Curry 20m, [email protected] Is One To Live? is a film about a woman named Veronica (Susanne

Collins) who very earnestly attempts to re-establish a relationship with her

former lover, and her sister Abigail (Anat Eshel) who has taken him from

her. The film opens with Veronica at graduate school with her friends

(Charlette Hove and Rachel Linson) as they make plans for their weekends.

Veronica does exactly what she sets out to do, work on her thesis and eatIndian food. However, come Saturday morning, Veronica s sick to her

stomach and is confronted by her sister Abigail. This encounter will shape

the remaining narrative, which I do not intend to spoil.

As a film, How Is One To Live? is a comedy about estranged relationships,

but it is also a reflexive satire. Being film snobs, the characters that inhabit


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the films narrative often cite and reference various films, but these films

and filmmakers who are referenced have provided the very mechanisms

through which the film s narrative is working. For instance, the quick ex-

change of intellectual arguments and the static shots recall the films of

Whit Stillman, which are referenced in Veronica s dialogue. Veronica

writing her thesis on Fassbinder provides the most significant of these

parallels. The nature ofHow Is One To Live?as a chamber drama is de-

rivative of Fassbinder s film The Bitter Tears Of Petra Von Kant. Veroni-

ca even goes so far as to identify herself as both Franz Biberkopf and his

lover Mieze at moments in her own narrative arch which reflect the arch

of Doblin s characters in Fassbinder s adaptation of BerlinAlex-

anderplatz. The primary cast and crew are as follows Robert Curry -

writer/director / Caroline Boyd Producer / Anat Eshel-Executive Produc-

er / Mike Englisis-Director of Photography / Mac Kennedy & Tabitha Al-

len-Music / cast: Susanne Collins/Anat Eshel/Hank Curry/Charlette Hove/

Rachel Linson

Fugaziby Patrick Baird

11m, [email protected] sexually frustrated gore fetishist explores her boundaries. Shot onPXL2000. Director, Camera Operator, Editor: Patrick Baird / Writer:La Bte / Starring: Christina Alberico & Bill Amadio

Agony

by Marc Dickerson

20m, [email protected]

Agony is a poet with a passionate and tortured soul. Delve into the

mind of a true up and coming artist, unafraid to say whatever pops

into his head. Even if it makes no sense. Meet AGONY. Written and

Directed by Marc Dickerson / Shot by Dan Dickerson


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Shooting Wall

2013

2013 shooting wall film festival program

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