October 27-30, 2000
Telluride, Colorado, USA

FRIDAY October 27, 2000

5 PM:
Filmmaker's Reception: (Gallery) All access pass holders

7 PM:
If Not One and One From filmmaker Robert Schaller, composer Michael Theodore, and performance artist, Michelle Spencer. Live performance interacts with three rear-projected, 16mm experimental films based on images of Spencer as well as with an evocative score for violin and computer-processed acoustic sounds. A visually stimulating exploration of identity in a postmodern world.

8:15 PM:
Otion and Bird: A live and deconstructive cineclimatic genre-defying music and multi-projection explosion with plenty of classic horror film pastiche.

9:30 PM:
Routemaster - Theatre of the Motor – Original San Francisco Mix: (Ilppo Pohjola, 35mm, 17min, Finland, 2000)
Routemaster is about the filmic portrayal of speed. The sound track uses computer-manipulated electric violin sounds, a rhythmic pulse and noise loops to convey a sense of ever-faster motion. A rhythmic mosaic about speed and crash test dummies.
Sliding Off the Edge of the World: (Mark Street, 35mm, 7 min, United States, 2000)
A genre defying work of visual wonder, made by gluing 16mm frames onto clear 35mm.
Residual Artifacts of Communication: (Richard Mathias Sandoval, 35mm, 6.5min, United States, 1999)
Visually Stunning Cinematic Art
Fishing for Brad: (Nicole Koschmann, 35mm, 6 min, USA, 1998)
A provocative look into human sexuality. By juxtapositioning two seemingly unrelated images, this film forces one to question the nature of desire.
The Unseen Hand: (Charles Chadwick, 16mm, 4.25min, United States, 1999)
Man and water take a journey as one and the same.

10:45 PM
TBA

11:45 PM
A Walk-up with Five Stories: (Cortlan McManus, 16mm, 15 min, United States, 1999)
The character is shown a dream, a nightmare, a glimpse into the future, someone’s sculpted life and music giving way to visual poetry.
Oui We: (Anthony Howard, 16mm, 35min, United States, 2000)
A metaphor for the relationship between every artist, their audience and the manipulation involved. An outstanding achievement in subversive guerilla filmmaking.
Split: (Erik Deutschman, 16mm, 12min, United States, 1998)
Using a variety of filmic techniques, Split creates an intimate and imposive exploration of a man confronting the nature of his physical existence.
Lucy's Dream (Relah Ezkstein, 16mm, 12.5min, United States, 1999)
A dog that dreams of being a female drummer in a rock band.
No Feet: (Jane-Sarah MacFarlane, 16mm, 10min, United States, 2000)
A touching, humorous and delirious commentary on the relationship between spirituality and hallucination.

SATURDAY October 28, 2000

9AM:
Children’s Workshop: Hosted by Courtney Hoskins (Ahh Haa School of the Arts)

9:00 AM:
Vers La Mer (Annik Leroy, 16mm, 87min, Belgium, 1999)
This film questions experimental filmmaking, as a means to express revolt, a desire to perturb narrate, image and time, sound.
It is clear that this is the hub of the matter, simply because “To the Sea” leaves the spectator free. To think, to dream, to travel.

10:45 AM
Films by Joan Nidzyn: Hosted by Joan Nidzyn

How To Be a Good Wife (16mm, 5min, United States, 1997)
Fairytales and bathing beauties generate this stinging commentary on sexism in mid century America.
I am a Camera (16mm, 13min, United States, 1997)
Two newlyweds get to know their kitchen appliances in their first year of marriage
What More Could You Ask For (16mm, 3.5min, United States, 1997)
A found footage exploration of the drug Rohypnol with an ironic twist.
Stop (16mm, 6min, United States, 1998)
A cycle of seemingly never-ending self abuse and the ritual of trying to obtain self control

11:45 AM:
Housesitting (Tony Gault, 16mm, 16min, United States, 1999)
A man's sickness is used as a metaphor for Anglo culture and its lack of spiritual or physical connection to the land.
Ruins (Jesse Lerner, 16mm, 78min, United States/Mexico, 1999)
A Fake Documentary in a powerful postmodern style.

1:30 PM
Sexually Explicit Films by Women Filmmakers: The Pioneers: Hosted by M.M. Serra

3:30 PM:
Trilogy (Russ Wiltse and Hobart Bell, 35mm, 19min, United States, 1999)
Poetry, Art, and Music converge and diverge. The viewer will know one or the other more by his or her perceptive insights into the montage then by any statement the filmmaker overtly projects.
Local Time + 2 1/2 (Klaus W. Eisenlohr, 16mm, 13min, Germanys, 1999)
Rhythmic film sequences between the camera and human body in an architectural and public space.
Utopia (Bradley Rappapa, 16mm, 4min, United States, 1994)
A female artist representing Narcissus possesses the power to create and inhabit her own realm of existence.
Floating Under a Honey Tree (Mary Beth Reed, 16mm, 4.5min, United States, 1999)
Visually powerful hand-made film experimentation.
Plus Tard (Eric Oriot, 16mm, 10min, France, 1999)
Coincee dans un processus qu’elle ne maitrise pas, une jeune femme n’en finit pas d’avancer vers un point qui recule a l’infini, une deestination a jamais hors d’atteinte. Repetitions, mises en abyme, reinterrogations des memes images, le film s’inscrit dans une spirale, iol se consruit par cercles concentriques emboites, repetes et pourtant toujours emportes dans l’abime.
Cosmogenesis-The Art of Watching (Richard Sanchez, 16mm, 26min, 2000)
Outstandingly psychedelic film. Accompanied by a live and improvisational soundtrack by ranjr.
Routemaster - Theatre of the Motor – Tokyo Noise Mix

5:30 PM:
Films by Anne Robertson: Hosted by Reed O’Brien
Films to be announced.

7 PM:
Circles Short Circuit-version 2 (Caspar Stracke, 35mm, 73min, Germany/United States, 1999) Casapar Stracke has produced a “third aesthetic” by combining digital video with 35mm film. The film blurs the lines between fact and fiction while, very unpredictably, exposing unspoken rules of narrative and experimental filmmaking. The film will be followed by a casual yet in depth conversation and question and answer with Mr. Stracke.

9 PM:
Through Revolving Doors (Bradley Rappa, 16mm, 10min, United States, 1996)
Through the disintegration of the photographic image, this experimental narrative explores the deceptive construction of memory caused by psychological trauma.
If (Dianne Bonder, 16mm, 12min, United States, 2000)
A meditation on the in-between places of loss; the corner of a room. Shoes on the floor, a hair on the bed.
Superduperhighway (Ana & Sonia Gil Costa, 35mm, 1min, United States, 2000)
If internet art is possible why not telephone art?
Paralaxadazacal (Cori Chavez and Mike Picarsic, 16mm, 7min, United States, 1999)
Shot in many locations around the United States, the film uses various stocks and developing processes.
Razed by Wolves (Katherine Ramey, 16mm, 8min, United States, 1998)
A beautiful and haunting film involving the personality exchanges between a doll and its owner.

10:30 PM
Sexually Explicit Films by Women Filmmakers: Hosted by M.M. Serra

SUNDAY October 29, 2000

9:00 AM
Accelerated Development (Travis Wilkerson, 16mm, 56min, United States, 1999)
A powerful and experimental document on the life and work of the great Cuban filmmaker, Santiago Alverez.

10:15 AM
Momposition (Chris Pearce, 16mm, 16mm, 15min, United States, 2000)
A masterpiece in the deconstruction of filmmaking and the psychological. aspects of adoption.
December (Dianne Ouellette, 16mm, 11.5min, Canada, 1997)
December can be so calm, so cold, so pretty. A film about life, death, and turning thirty.
Shoebox (Daniel Flahiff, 16mm, 8.5min, United States, 2000)
A lyrical tale of memory and loss.
Subterranean Passage (Michael Crochetiere, 16mm, 31.75min, Canada, 1999)
Four children create imaginary worlds as an escape from a hostile environment.
Best in Beef (Rob Smits and Britta Hosman, 35mm, 10min, Netherlands, 1999)
A visually stunning, micro-documentary shot in a meat processing plant in Holland.
To the Beach (Robert Schaller, 16mm, 10min, United States, 1999)
Twilight Psalm II: Walking Distance (Phil Solomon, 16mm, 23min, United States, 1999)
You Would Make a Good Lawyer
Routemaster - Theatre of the Motor – London Dance Mix

12:15 PM
Moon Streams (Mary Beth Reed, 16mm, 6.5min, United States, 2000)
Mary Beth Reed’s mysterious filmic experimentation, dedicated to Stan Brakhage.
Fey Eyes Pin Holes Drums Hum (Thomas Comerford, 16mm, 14min, United States, 1999)
A hypnotic piece created with a pinhole (lensless) camera and found/homemade noise recording devices.
Dagaz (T.A. Kinsey, 16mm, 8.5min, United States, 1998)
a filmic portrayal of the disintegration of memory and family in the wake of the death of a matriarch.
Requiem (Kimberly Caplan, 16mm, 9min, United States, 1995)
Using color negative and high contrast black and white, Requiem is an intense film of remarkable beauty.

1:30 PM
Films of Jim Otis: Hosted by Jim Otis
(All films 16mm)

On Your Own (2 min, sound, b/w, 1981)
(The Daily Compromise Of) My Enmeshment (7 min, sound, 1999)
Easter Blues (4 min, silent, 1986)
Ash and Apple (1½ min, silent, 1994)
Ein Baum für die Engelmänner (2 min, silent, 1976)
Englewood Cottonwood (4 min, silent, 1997)
Upper Blue Lake (12 min, silent, 1996)
Observations in Natural Philosophy (1½ min, silent, 1997)
Deposit of Faith (11 min, silent, b/w, 1984)
Vervielfältigung (4 min, sound, b/w, 1996)
Family Dinners (6 min, sound (cassette), 1994)

3:15 PM
Specters of the Spectrum (Craig Baldwin, 16mm, 91min, United States, 1999)
An electrifying found-footage fairy tale of the new century.

5 PM
Love Under Mercury (Steve Hawley, 16mm, 33min, United Kingdom, 2000)
Feeling like your walking on air? Lost your appetite? Like your in a film? Hearing music when no ones there? Your not in love, your just suffering from mercury poisoning.
Haunt #451 (Susanna Donovan, 16mm, 18min, United States, 2000)
A film about censorship, desire, and how stories get told.

7:00 PM
Emerald Reels Super 8 Lounge: Hosted by Reed O'Beirne (Gallery)
Films include works by Luther Price, Ricardo Nicolayevsky, Luke Sieczek (Athens), Martha Colburn, Adrienne Jorge (Songs of Azores), Reed O'Beirne, Bill Witman (Literal Light), Anne Robertson, Bill Storz (the 2 hour epic “Beach Beast”) and many more. j. frede will be composing live sound for many of the films that are silent, TIE requests that you dress as your favorite experimental film in keeping with the spirit of both Halloween and the casual, party-like atmosphere of the lounge. The lounge also includes Super 8 multi-projections by Bird and slide-projections.

MIDNIGHT
Ghost Trip (Bill Morrison, 35mm, 23min, United States, 2000)
Combining verite filmmaking with a highly stylized visual design.
Of God (Chad Feeback, 16mm, 2.75min, United States, 2000)
A deconstructive vision of the spiritual journey.
Cresent Time (Simon Tarr, 16mm, 3min, United States, 2000)
Monologue becomes dialogue as image, text, and voice, intersect and fold back upon one another through this hypnotic night in the desert.
Purgatory (M. Frank, 35mm, 7min, Australia, 1999)
One continuous shot exploring the theme of life before and after death.
Srassha (Dianne Ouellette, 16mm, 8.5min, Canada, 1996)
A cathartic delve into self-identity and nostalgia expressing an inner conflict with a perpetual turmoil of morality.
No Film (Michael Brynntrup, 35mm, 1.5min, Germany, 2000)
Michael Brynntrup’s newest and most provocative statement in the world of experimental film.
Nocturne #1 - The Untitled Film and Nocturne #2 (Sheri Wills, 16mm, 8min, United States, 1999)
Inspired by the nineteenth century Victorian sensibility, Wills has gone through a tedious process and repetitive labor focusing on painting one frame at a time.

MONDAY October 30, 2000

8:00 AM
Children's World Premieres (Gallery)
The children will screen their films that were created in the workshop followed by The Cookies and Milk Reception.

9:00 AM
Daisy (Dianne Ouellette, 35mm, 13min, Canada, 1999)
A touching and mood-setting piece about love, loss, and melancholy.
Moving Illustrations of Machines (Jeremy Solterbeck, 35mm, 10min, United States, 2000)
A surreal look at a mechanical world portraying the beauty of simple motion and repetition. The film blurs the line between organic and manmade machinery.
Vibrant Marvels (Izabella Pruska-Oldenhof, 16mm, 22min, Canada, 2000)
Explores the ebb and tide of ever-transforming images.
Apology (Jake Mahaffy, 16mm, 10min, United States, 2000)
The prayer, the sermon, and the harvest.
Jacob (Mary Beth Reed, 16mm, 2.5min, United States, 1998)
Mary Beth Reed's extraordinary vision, come to life.
The Last, The Rest (Johanna Dery, 16mm, 4.5min, United States, 2000)
Made through a variety of frame by frame techniques including animation and optical printing as well as through the use of live action photography.
Shape of the Gaze (Maia Cybelle Carpenter, 16mm, 7min, United States, 2000)
Handprocessed, painted, and optically printed film.

10:30 PM
Kokoro is for Heart (Philip Hoffman, 16mm, 7min, United States)
Features poet Gerry S Shikatani, and explores the relationships surrounding language, image, and sound, set to the backdrop of a gravel pit.
Herz Blut (Zachary Scheuren, 16mm, 9.5min, United States, 2000)
Zachary Scheuren’s extraordinary work with odd technical film developing processes.
Beyond Voluntary Control (Cathy C. Cook, 16mm, 30min, United States, 2000)
Delusion (Anna Terean, 16mm, 25min, United States, 1999)
No dialogue, grotesque movement of acting, and music as an accompaniment creates this delusionary perception of life and reality.

12 PM
Pennydreadful (Marilia Hunter, 16mm, 16min, United States, 2000)
A montage of female desire and hallucination.
The Princess and the Oyster (Astrid Riemer, 16mm, 5min, United States, 2000)
Mixed media animation. A prince, a princess, a magical mollusk, and the power of true love.
I Keep My Eyes Peeled ( Anne Killelea, 16mm, 30min, United States, 1999)
Inspired by an article from the Wall Street Journal about the demand for “genuine” cowboy paraphernalia in New York City, the film questions, through parody, the definition of experimental film.
Consolation Service: (Eija-Liisa Ahtila, 35mm, 25min, 2000, Finland)
Eija-Liisa Ahtila analyzes the cinematic devices in narrative filmmaking, in her newest and most extraordinary film to date.
TBA

1:30 PM
Teatro Amazonas (Sharon Lockhart, 35mm, 40min, United States, 1999)
An audience seated in ornate Neo-Classical opera house looks back at us for the 29-minute duration of the film.

(All events are held at the Sheridan Opera House unless otherwise noted)

RITUAL DOCUMENT RELEASE AUDIO PERMORMANCES:

Live Ambient sound will be provided daily during the festival as well as at
special events and parties nightly, creating an atmosphere in several
locations to coincide with the films you will be seeing, there will also be
live sound tracks composed in real-time to several silent films.

j.frede:
a minimal sound artist that works primarily with field recordings and analog beats in surround sound.

ranjr:
low ambient pieces and hypnotic tone sequences.

terrorstate:
this sample based artist presents driving loops and beats using sounds
familiar to the gaza strip.

glacier:
uses glitch rhythms and tonal lulls with such fluidity you may never hear there entrance.


*Program is subject to change