WEDNESDAY MAY 5
6:30 at The Crowley Theater
Relating to conceptual approaches to film and photography, Phil Collins investigates the nuances of social relations in various locations and global communities. In soy mi madre he works with telenovela, one of the most popular products of Latin America. The format exploits the world market through the articulation and preservation of cultural difference, while at the same time serving as a powerful tool of self-representation and the re-signification of the continent’s colonial legacy.Shot in México City, soy mi madre is a telenovela-inspired tale of love, betrayal and family intrigue that examines the intricate power dynamics between unequals.A cast of leading Mexican television stars take turns at playing a spoilt mistress of the house and her resentful servants, with a dark family secret boiling under the surface and leading to an inevitably dramatic finale. Revolving around the ideas of role-playing and performance, masks and mirrors, symbols and rituals, soy mi madre posits social roles as volatile and unbalanced, defined by their inherent potential for theatricality and violence. Including the contribution of the acclaimed production designer Salvador Parra (Volver, Before Night Falls), soy mi madre is a study in the aesthetics and politics of melodrama.
Cast: Patricia Reyes Spíndola, Verónica Langer, Zaide Silvia Guitérrez, Gina Morett, Sonia Couoh, Miriam Calderón, Dobrina Cristeva, Eileen Yáñez, Luis Cárdenas, Tenoch Huerta, Almadella, Montse
Phil Collins was born in Runcorn, UK, and is currently based in Berlin and Glasgow. His films, videos and photographic works have been shown in museums, galleries and at film festivals around the world. He was one of the recipients of a Paul Hamlyn Foundation Award for Visual Arts in 2001, a nominee for the Turner Prize in 2006 and a recipient of the DAAD Scholarship in Visual Art for 2008/2009.
7:30 at The Crowley Theater
Beto, the custodian of a modernist villa in Mexico City, lives in one small room in the house where he has worked for 30 years. The owner moved out ten years ago with the rest of her staff while Old Beto takes care of the garden, cleans the windows and polishes the kitchen as if life could start up again at any moment. The solitude of the last decade, as well as the monotony and routine of his job, has made him lead a secluded life.He has developed a pathological fear for the exterior, to the point of limiting his contacts to only two people: the owner of the house, for whom he has a feeling of deep gratitude and respect that is translated into obedience; and Lupe, a friend, a confident and a lover. News that the house is to go on sale causes a dilemma for Beto, who doesn’t know whether to dare to set forth and live or to seek a way of remaining in his confinement. His solution is a most astonishing conclusion.Stunning camera work by Arnau Valls Colomer sharply reveals the relationship between the fraying rooms of the house and its eternal inhabitant, but also between the different social classes. The fictional element in the film focuses on Beto’s relationship with the chaotic, violent world outdoors: México City.
Cast: Nolberto Coria, Nancy Orozco, Tesalia Huerta
Mexican director Enrique Rivero was born in Madrid in 1976. He has worked in different areas of film production, from photography to art, and was assistant director of Pedro Aguilera’s La Influencia (Director’s Fortnight Cannes 2007). As director, he has made two shorts: Nidra (2004) and Schhht (2005). Parque Vía is Rivero’s feature directorial debut, which garnered the Golden Leopard and FIPRESCI Award at Locarno International Film Festival 2008, and the Best Latin American Film and Audience Awards at the Ficco Festival in México City.
THURSDAY MAY 6
9:30AM At the Crowley Theater
Introduction by Marianne Stockebrand, Director, The Chinati Foundation, Marfa
Produced by Martin Scorsese and Robert Greenhut, narrated by Martin Scorsese and directed by Arne Glimcher, Picasso and Braque is a virtual tour through the effects of the technological revolution, specifically the invention of aviation, the creation of cinema and their interdependent influence on Picasso and Braque’s invention of Cubism, the most radical shock in the history of Western Art. The film takes us from Picasso and Braque’s early work in Paris circa 1900 and the Exposition Universal where the wonders of Modernism were revealed, and into the artists’ studios. Picasso and Braque first met in 1907 when they had independently arrived at a similar place in their work. Soon their work would be virtually indistinguishable from each other and their lives would be inseparable.”Bernice Rose, the former curator of Drawing at New York’s MoMA and I were working on a “Picasso and Drawing” exhibition for PaceWildenstein in 1995 and I confided my ideas about Picasso and the influence of early cinema on the structure of his imagery. Thus began our research for the film. Cubism evolved concurrent with the achievements of the Industrial Revolution and the inventions at the turn of the 20th century, specifically cinema and aviation. It was a time when permission was given to absorb popular culture into high art. I believe that endemic to Picasso’s career and the achievements of Braque and Picasso’s Cubist period was an innate competition that the artists had with film itself, a need to shatter the static image as the pulsing light of the cinematograph shattered space and time as we knew it.
“I hope that the film demonstrates that art and cinema became inextricably linked together beginning with Cubism and continuing into the present; and that the artist absorbed burgeoning technology in all of its facets and forms to create the new image of the 20th century.” – Arne Glimcher.
With: Martin Scorsese, Julian Schnabel, Lucas Samaras, Chuck Close, Adam Gopnik, Eric Fischl, Tom Gunning, Alexander Blaise, Robert Whitman, Cooje Van Bruggen, Owen Lund, John Yau, Natasha Staller, John Richardson . Associate Producer: Bernice Rose.
Arne Glimcher is the founder and chairman of the PaceWildenstein art gallery. He is also a published author, a film producer and a director, whose pictures include The Mambo Kings, Gorillas in the Mist, and Picasso & Braque Go to the Movies.
11:00am at the Crowley Theater
Every Thursday night at a local Taco Cabana in El Paso, Texas, Manuel Nunez and friends put on a cross-dressing drag queen show titled “Samantha’s Travesti Show” while also informing their audience about why they chose their part-time profession. As individuals, these performers break numerous “borders” which range from societal to literal, as they cross over from Juarez, Mexico to perform for their fans. “There are people who don’t applaud and others who are apathetic to our show. We want people to laugh and have fun with us. It’s for people who want to forget ordinary life.”With: Samantha, Viviana, & ZaydaDiana Cordova, a native of El Paso, films subjects from her hometown. She attended The University of Texas at El Paso, graduating in 2006 with a BA in Communication and a minor in Woman’s Studies. Her first film, Culinary Courtship (2007) screened at “The Good, the Bad and the Indie” in El Paso, TX.
Flowers in the Desert (Flores en el Desierto)USA Premiere, Jose Álvarez, 2009, México, 72 min.
The Wixarika culture (or Huichol) originates from the Mexican states of Jalisco, Nayarit, and Durango where more than 50,000 Huicholes currently live and practice their indigenous traditions. A group of huicholes wants a film made that portrays their religious and social customs, as they feel it is vital to preserve their culture for new generations.
The huicholes are pilgrims, deer hunters, and they eat peyote. Every year, the Huicholes embark on pilgrimages from the mountain ranges in Jalisco to places like the Wirikuta Desert in San Luis Potosí and to the Aramara Sea along the coast of San Blas, Nayarit. The filmmakers were extended the rare opportunity to follow the Huicholes from San Jose and Tesorero on their travels and document their daily lives over a two-year period.
Cast: Andrés Carrillo, Joaquín Bautista, Antonio Carrillo, José Bautista, Pedro Villa, Francisco Bautista
Jose Alvarez was born in the Mexico City in 1964. He studied Law at the University of Mexico and worked in radio for twelve years, among other stations he directed Radioactive 98.5 in México City. In 1996 he directed the documentary The Silence of Sarajevo and in 2006 his short film Venus won international recognition. Flowers in the Desert won a special mention by the jury at the International Film Festival of Morelia and competed in Guadalajara and Toulouse.
1:30 At the Crowley Theater
Canned MeatUSA Premiere, Terril Calder, 2009, Canada, 28 min.
Things had gone stale all around Ida Calder and her illusions had expired. All of her hope fermented. When things were no longer looking so lovely for her she decided to lock herself away as not to deface her youthful image. Canned Meat is set in a rural Canadian trailer park as we follow Ida on a surreal stop motion animated journey through the depths of her mind and body to discover if there was ever really a person in there?
Terril Calder is currently working with the challenge of making experimental stop-motion animated narrative shorts that exhibit her rural experiences and encompass a performance art feel. Calder is a Métis artist who was born in (Fort Frances) Northern Ontario where she studied drawing and performance in the fine arts program at the University of Manitoba. In Winnipeg she became a member of Video Pool through which she received training in video production. In Toronto Calder met the Shake Well performance art collective and joined them in various exhibitions that led to the founding of the 7a*11d International Performance Art festival in Toronto. She has lectured and taught Art through the years with various organizations that include the National Ballet School of Canada, Art in the Park program and the University of Manitoba. After receiving additional training in computer animation she is exploring the fusion of various disciplines; an amalgamation manifesting itself in video.
Roll Out, CowboyWorld Premiere, Elizabeth Lawrence, 2010, USA, 75 min.
Introduction by Tom Michael, Station Manager, KRTS, Marfa Public Radio
Chris “Sandman” Sand is a rappin’ cowboy from Dunn Center, North Dakota (population: 120 and shrinking). He drives a semi, plays the guitar and raps. He looks like Woody Guthrie but sings like no one else. Roll Out, Cowboy follows the 39-year-old country/hip-hop musician as he tours the American West during the 2008 Presidential election. Small town America isn’t as conservative as we think.
His tour van is broken, he bought his house for a thousand bucks, and the small farming town in which he lives is disappearing faster with each passing year. Roll Out, Cowboy’s Chris Sand is the face of the dying American West. Except for one thing: he raps. The Woody Guthrie protégé looks like a cowboy, talks like a cowboy, but writes songs like Dr. Dre. When hip hop music hit the airwaves of the North Dakota badlands, where Sand grew up, he learned to rap and rhyme to the pulse of baling machines and irrigation pumps. The result? A music fusion in the raw–country/hip hop/folk/rap/cowboy. Whatever you call it, it’s unique, fresh, sexy, and distinctly Western. The film follows Sandman the Rappin’ Cowboy as he travels from red state to blue and back again, blending discordant music genres into a style uniquely his own. Through him we see a part of America that remains immune to marketing campaigns, record labels, and consumerist politicking, as if it were the truth. We witness band break-ups, small town groupies—even a brief flirtation with commercial truck driving, when a particularly impoverished Sand needs to make ends meet. This is not the romanticized, Roy Rogers version of the American frontier. This is Sandman. The cowboy who raps.
With: Chris Sand. Music: Chris Sand
Elizabeth Lawrence, born 1980. Roll Out, Cowboy marks her directorial debut. Previous roles include production manager and line producer. She’s assisted producers and directors on films such as The Exorcism of Emily Rose, Underworld Evolution and The Last Kiss. Lawrence has written and directed numerous short films, including the award-winning Nightmarecrawlers and Beyond the Gates of Ill-Repute. Elizabeth currently lives in Los Angeles.
4:00 PM At the Crowley Theater
Burning PalaceMara Mattuschka, Chris Haring, 2009, Austria, 32 min.
A stage, marble columns, the red curtain closes: “You only have a split second of a pose to multiply your transgression.” This first statement introducing the opening sequence sounds like provocative instructions. The game of five figures ensnared in erotic innuendos is more appearance than reality: the pornographic poses can be interpreted as sexual simply by the shadows they cast. In the glowing light, they are actually five protagonists warming up for a night in the Burning Palace Hotel.
The body as an eternally burning palace: Mara Mattuschka’s fourth collaboration with choreographer Chris Haring is sometimes evocative of David Lynch, while mostly remaining a blurred play of deceit. A dance performance in a hotel as a cinematic spectacle.
Cast: Stephanie Cumming, Alexander Gottfarb, Katharina Meves, Anna Maria Nowak, Luke Baio.
Mara Matuschka: Born in Bulgaria, resident of Vienna since 1976, Mattuschka is one of the most important experimental filmmakers in Europe; a link between Valie Export and the younger generation of avant-garde film artists in Austria today. A prolific filmmaker since the mid-80s, she has amassed a body of work comprising more than two-dozen films, which are among the most physical and tactile works in experimental cinema. Distinguished by their preoccupation with sexuality, their aggressive materiality, and their focus on the female body – usually Mattuschka’s own (she appears in many of her films under the guise of Mimi Minus) – which is aggressively manipulated, transformed, and attacked, by means of paint, ink, and other substances, as well as by various photographic effects. At once erotic and grotesque, transgressive and playful, her work is unmistakable and unforgettable.
Chris Haring (1970, Austria) studied psychology and attended music and dance courses in New York and London. He teaches dance in Austria and Germany. One of the main influences for his performances, such as Fremdkörper (nominated as best performance at Biennale de la Danse in Lyon 2004) is science fiction films and the human body as a cybernetic landscape. Recent works are the Lovely Liquid Lounge, focusing on the topic of transgression, and Das China Projekt in collaboration with Chinese choreographer Jin Xing.
6:30 PM At the Crowley Theater
Art Elimination ProjectWorld Premiere, Adam Bork, 2010, USA, 13 min.
Introduction by Tim Johnson, Marfa Book Co.
Marfa artist Adam Bork revisits twenty years of his visual art and destroys much of it in the process.
Adam Bork is a photographer, musician and filmmaker from Austin, Texas. He studied studio art at Southwestern University in Georgetown, Texas from 1988-1991 and photography at School of Visual Arts in New York City in 2000-2001. He currently resides in Marfa, Texas.
His still photographs have exhibited widely in solo shows and on award-winning album covers. His short films have screened in Austin, San Francisco, as well as at The Wichita Falls Museum of Art’s “Cherry Picked: A Survey of Texas Art and Artists.” His music videos for his own music and other bands, including Medeski,Martin and Wood have aired internationally. He was art director and cinematographer for the award-winning documentary Searching for Tony Joe and cinematographer for the feature-length documentary Wax, currently in post-production.
Adam has performed his music at numerous venues nationwide, incorporating slide shows of his own images alongside found images acquired at estate sales, thrift stores, eBay, etc. He’s currently working on multi-media projects and color field video installations that blend his original imagery and musical compositions with his growing archive of found stills and film footage.
ObselidiaDiane Bell, 2010, USA, 96 min.
“An utterly eccentric, movie-loving quasi-romance between two intellectual misfits living vastly out of their proper eras is so far off the grid of what is expected from a modern independent movie that it can truly be said to “rebel. It is a gorgeous work in which every frame has the appearance of having been handcrafted in an art studio. It centers on a man whose mindset is much older than his years, a fellow who, convinced the world is going to end sooner rather than later, devotes himself to collecting obsolete things and writing a compendium about them. Although he’ll use a computer in the library where he works, he won’t own one; he prefers a manual typewriter, uses a rotary phone, doesn’t drive (although he lives in Los Angeles, albeit a wonderfully unrecognizable and car-deprived version of it) and fills his home with all manner of faded or useless objects. A beautiful drifter working as cinema projectionist at a silent movie theater, more of this world than he, approves of his sympathies and takes him on an eventful road trip to Death Valley, a place that potentially resembles what the rest of the world will look like in future.” – Todd McCarthy, Variety
“The journey of George and Sophie is one in which two people come together to confront mortality – not just their own, but also the world’s. And in doing so, they perhaps each find a new and better way of being in the world, even though it is not together. There is no “happy ever after” – but that’s not necessarily a bad thing. “I started out wanting to make a film about change and how we deal with it. The rate of change is ever-faster, new things become old in months not years. When I was a kid, a TV was a big investment, and you expected to have it for twenty years. Now you buy a laptop, knowing it will be a dinosaur in two. I can’t help feeling that this rapacious pace of consumption is linked to the climate change challenge we all now face.” – Diane Bell
Cast: Michael Piccirilli, Gaynor Howe, Frank Hoyt Taylor, Chris Byrne
Diane Bell is a writer and director currently residing in Santa Monica, CA. Originally from Scotland, she grew up in Japan, Australia and Germany. She later earned a Masters degree in Mental Philosophy from Edinburgh University. In 2006, she optioned her first solo effort screenplay, and relocated to Los Angeles from Barcelona, Spain. Since then, she has written four more original screenplays, including one with director John McTiernan (Die Hard). She is a long-time practitioner of Ashtanga Yoga and Buddhist meditation, which undoubtedly influence her work. She opened the first Ashtanga-dedicated yoga studio in Barcelona in 2000, and studied yoga in India with the late Sri K. Pattabhi Jois. Obselidia is her first film.
9:30 PM AT El Cosmico
A lyrical meditation on earth’s resources set to a layered electronic soundtrack. Vivid images of the unique and varied cloud formations of far West Texas are accompanied by voice-over narration describing the life cycles of our planet in the manner of an educational film.Jennifer Lane was born in August of 1968 in Dallas and currently lives and works in Marfa. She studied art at the Rhode Island School of Design in Providence and the Art Center College of Design in Pasadena. Her films, videos, and drawings have been exhibited at the Castillo Di Rivoli in Turin, the ZKM Center for Experimental Media and Technology in Karlsruhe, the Royal College of Art in London, the UCLA Hammer Museum in Los Angeles, the Miami International Film Festival, the Austin Film Society, and on Japanese television.
The Sun Ship GameTexas Premiere, Robert Drew, 1969, USA, 83 min.
Introduction by Burt Compton, Marfa Gliders
“The definitive “soaring film” Robert Drew’s long-lost masterpiece features George Moffat and Gleb Derujinsky, master pilots in competition for the 1969 U.S. National Soaring Championship in Marfa, Texas. With breathtaking photography and uncommon intimacy the film voyages with both pilots into the sky at a regional contest in Vermont and into wild weather with eighty-three other competitors in Marfa, Texas. Through eight days of hard flying in skies alternately filled with brilliant beauty and black violence, their two approaches arrive at a dramatic conclusion and one of them is named the U.S. Champion. Unavailable in any form until now.” – Big Sky Documentary Film Festival, 2010
Before entering the film industry, Drew was a WWII-era fighter pilot and then spent many years as a correspondent, photographer, and editor at Life magazine. He began his signature candid filmmaking style with PRIMARY in 1960. A breakthrough in documentary filmmaking, it is the first film in which the sync-sound motion picture camera was utilized to move around freely with its subject – in this case, a young senator John F. Kennedy. After PRIMARY, Drew continued utilizing the same candid style to capture frank and honest portraits, such as those of a U.S. President making tough decisions (CRISIS), a jazz legend composing quietly at his piano (ON THE ROAD WITH DUKE ELLINGTON), NASA scientists as they guide spacecraft to Mars and astronauts in space (NASA), and many others. Drew has received numerous awards including an Emmy and a Peabody, and recognition at major film festivals such as Venice and Cannes. Drew was honored with the IDA Career Achievement Award in 1993 for his contribution to documentary filmmaking.