Category Archives: CONVERSATION

THE BODY REMEMBERS WHEN THE WORLD BROKE OPEN

A visceral exploration of abuse in Vancouver’s Indigenous community and a key work of contemporary feminist cinema, THE BODY REMEMBERS WHEN THE WORLD BROKE OPEN will screen twice at the AFI FEST presented by Audi.

Writer-directors Kathleen Hepburn and Elle-Máijá Tailfeathers—who also co-stars in the film—will join actor Violet Nelson for post-screening Q & A’s.

A love poem to women, THE BODY REMEMBERS WHEN THE WORLD BROKE OPEN weaves a compellingly simple story around the complex themes of racialized female bodies, a country’s failure to support its most vulnerable youth, and the continuing effects of colonial violence. Inspired by true events, this intimate, immersive film was shot on location in East Vancouver on 16mm film, in real time.

THE BODY REMEMBERS WHEN THE WORLD BROKE OPEN

Tuesday, November 19, at 8:30 pm.

Wednesday, November 20, at 12:45 pm.

Chinese Theatre

6801 Hollywood Boulevard, Los Angeles.

Elle-Máijá Tailfeathers and Kathleen Hepburn, The Body Remembers When the World Broke Open (2019), from top: Violet Nelson; ARRAY poster; Tailfeathers (left) and Nelson; Nelson and Tailfeathers. Photographs by Katrin Bragadottir. Images courtesy and © the filmmakers, the actors, the photographer, AFI FEST, and ARRAY Releasing.

AFI FEST 2019 — ANTIGONE

A standout in a particularly strong year for Canadian film, ANTIGONE—written, directed, and shot by Sophie Deraspe—will play twice on the opening weekend of the AFI FEST presented by Audi. The director will be on hand to present her work.

Featuring a breakout performance by Nahéma Ricci in the title role, this timely contemporary update of Sophocles’ tragedy captures the rage and resistance of an immigrant family, grieving the loss of a son while confronting the institutionalized oppression of its adopted Quebec.

ANTIGONE

Friday, November 15, at 3 pm.

Saturday, November 16, at 11:30 am.

Chinese Theatre

6801 Hollywood Boulevard, Los Angeles.

Sophie Deraspe, Antigone (2019), from top: Nahéma Ricci; Rashida Oussaada (left), Nour Belkhiria, Ricci, Rawad El-Zein (foreground center), and Hakim Brahimi (right); Ricci and Brahimi; Antoine Desrochers (center); Quebec poster; Ricci and El-Zein; Antigone set photograph. Images courtesy and © the filmmaker, the actors, the photographers, Maison 4:3, and ASPAV.

A.K. BURNS — ARTIST TALK AND SCREENINGS

As part of the Horizontal Vertigo program at the Julia Stoschek Collection in Düsseldorf, A.K. Burns will restage the first two episodes of Negative SpaceA SMEARY SPOT (2015) and LIVING ROOM (2017)—and premiere the third: LEAVE NO TRACE (2019).

Negative Space is a cycle of four interrelated multi-media installations. Conjuring and deconstructing science fiction tropes, Negative Space builds each episode around a physical system: the sun (power), the void/land, water, and body. The worlds within each video germinate from site-specific phenomena, building allegorical structures for each installation. This cycle of works raises questions about how value is allocated, with respect to resources, environmental fragility, marginalized bodies, and their relationship to place…

As a formal term in art, “negative space” denotes the unseen matter between and around the subject. The subject is the focus of our attention, a definable entity. Thereby negative space is considered subordinate to the primacy of the subject. What is compelling about negative space is that it is unfixed, malleable and ultimately an open set of possibilities. I use this concept of negative space as a proposal for re-orientation and an analogy for generating agency within a subjugated position. The premise of the Negative Space tetralogy is to envision a radical cosmology wherein hierarchical relations permute. A.K. Burns*

In mid-November, Burns will give an artist talk at JSCwith curator Lisa Long, and there will be multiple screenings of Community Action Center, the 2010 video by Burns and A.L. Steiner.

A.K. BURNS—NEGATIVE SPACE

Through December 15.

COMMUNITY ACTION CENTER

Friday through Sunday, November 15, 16, and 17.

Screenings at 12:30 pm, 2 pm, 3:30 pm, and 5 pm.

A.K. BURNS ARTIST TALK

Saturday, November 16, at 3 pm.

JSC Düsseldorf

Schanzenstrasse 54, Düsseldorf.

A.K. Burns, Negative Space, from top: A Smeary Spot, stills (6); A Smeary Spot installation view; Living Room, stills (2); Leave No Trace soundtrack, 2016, unlabeled vinyl record, black nitrile gloves, clear zip-lock bag, silkscreen in white ink with poem printed on reverse, 31:08 minutes, images courtesy and © the artist. A.K. Burns and A.L. Steiner, Community Action Center, stills (2) and, below, poster; images courtesy and © the artists.

ÉDOUARD LOUIS, STAGED

In conjunction with the theatrical production of two plays based on his books, Édouard Louis will give a talk—moderated by the New Yorker theater critic Alexandra Schwartz—at the Brooklyn Academy of Music.

Co-presented by BAM and St. Ann’s Warehouse, performances of Thomas Ostermeier, Florian Borchmeyer, and Louis’ adaptation of HISTORY OF VIOLENCE begin at St. Ann’s on November 13. THE END OF EDDY—adapted by Pamela Carter—starts at BAM the following night.

ÉDOUARD LOUIS IN CONVERSATION

Monday, November 11, at 7 pm.

BAM Fisher, Fishman Space

321 Ashland Place, Brooklyn.

From top: Laurenz Laufenberg (left) and Renato Schuch in History of Violence; Laufenberg, Schuch, and Alina Stiegler; Laufenberg and Schuch; Oseloka Obi (left) and James Russell-Morley in The End of Eddy; Russell-Morley and Obi; Stiegler and Laufenberg; Laufenberg (on ground). History of Violence photographs by Arno Declair; The End of Eddy photographs by Sarah Walker. Images courtesy and © the producers, the performers, and the photographers.

PHILIP KAUFMAN AND JULIETTE BINOCHE IN CONVERSATION

Philip Kaufman has never done anything like this, but his experiment is a success in tone. He has made a movie in which reality is asked to coexist with a world of pure sensuality, and almost, for a moment, seems to agree. Roger Ebert, 1988

Following an American Cinematheque 35mm presentation of Kaufman’s masterwork THE UNBEARABLE LIGHTNESS OF BEING—co-written by Jean-Claude Carrière—join Juliette Binoche and the writer-director for a post-screening Q & A.

PHILIP KAUFMAN and JULIETTE BINOCHE

THE UNBEARABLE LIGHTNESS OF BEING

Sunday, November 10, at 5 pm.

Aero Theatre

1328 Montana Avenue, Santa Monica.

Philip Kaufman, The Unbearable Lightness of Being (1988), from top: Daniel Day-Lewis and Juliette Binoche; Lena Olin (2), Day-Lewis and Olin. Images courtesy and © the filmmaker, the actors, and the Saul Zaentz Company.