curated by Giulia Mazzone, Giuseppe Spina, Riccardo Re
A man loses himself.
A cross-generational binding of three filmmakers seeking alternative possibilities to power structures they’re inherently part of. The film grew out of abandoned film projects of Maya Deren and Barbara Hammer. Shot at the furthest point of a motorcycle trip Hammer took to Guatemala in 1975, and laced through with Deren’s reflections of failure, encounter and initiation in 1950s Haiti.
A vever is a symbolic drawing used in Haitian Voodoo to invoke a Loa, or god.
My wife Helena was five years old when the Kosovo War began in February of 1998. She and her family were forced to flee their homes as Serbian soldiers swept the countryside, massacring ethnic Albanians and destroying their land. Ditët e Luftës is a meditation on these experiences of war and displacement.
Filmed on Super 8mm, Scenes from a Transient Home presents a fractured portrait of life for Zimbabwean migrant women when they visit family back home.
A portrait of place and power in rural white Ontario that challenges the correlation between seeing and knowing, and the ravages of late-stage capitalism. Hand processing, contact printing, tinting and toning engage the film as a body that, like the residents of Mt. Forest, sustains injuries, wounds and burdens, but also has the capacity for delight, revelatory pleasure, and transformation.
This project began out of a fascination with a giant sculpture of a dragon attached to a Central Florida mansion. The property had recently been left to rot, held in lien by a bank. Hurricanes washed away the sculpture.
I learned about the artist who created this landmark, Lewis Vandercar (1913-1988), who began as a painter. His practice grew along with his notoriety for spell-casting and telepathy.
Inspired by Vandercar’s interest in parallel possibility, I combined these images with text from local newspaper articles in a haunted-house film that both engages with and looks beyond the material world.