Jonas Mekas's loft. Two rolls of 16mm film shot one week after his passing. In memoriam.

Jonas's loft

It's been a long day, and you're tired. You come home, nearly doze off in front of the television set, then wander down the hall and plop on your bed expecting to fall asleep in a instant. But - suddenly and mysteriously - you find yourself paralyzed. Gushing sounds fill your ears. Bright flashes of light flicker under your closed eyelids. Then you feel as if you are beginning to float... The second film in our tribute to the late parapsychologist D. Scott Rogo, murdered in 1990 under mysterious circumstances.

The Second Body

A short documentary containing images of a ghost town juxtaposed with a day in the life of a father coping with loss and old age. A story about absence. "Nothing about this film was planned. I was there to get footage for a friend's film about ghost towns and was just setting-up the camera while hanging out with my dad on Father's Day. That's why some of the exposure is blown-out in an early shot and the white balance isn't always perfect - I was just running my camera when Andy happened to have interesting interactions." - Dan Schneidkraut

Father's Day

Human bodies, animals, children, and plants undulate together on rapidly changing frequencies. Between landscapes of anger and sexual desire, a white-hot climax builds under the surface. A collaboration between Emily Eddy and Natalie Chami (TALsounds), commissioned by Chicago Film Archives for the 2019 Media Mixer. "Made for the 2019 CFA Media Mixer. When I asked for clips from the archive to work from, I asked for "anything having to do with the occult, films shot by children, films shot in the dark, and homemade porn"." - Emily Eddy

Amour Pour Une Femme

Garden ghosts flirt with the weeds of spring, cycling matter[s] and lives and deaths. From Felix Salten’s Bambi, chapter on Winter:"Can it be true," said the first leaf, "can it really be true, that others come to take our places when we're gone and after them still others, and more and more?" "It really is true," whispered the second leaf. "We can't even begin to imagine it, it's beyond our powers." "It makes me very sad," added the first leaf. They were very silent a while."

Wasteland No. 2: Hardy, Hearty

South circular first shows us two women, in the shadow of nondescript ruins over the Tagus river in Lisbon. Three disparate elements, then — a female pair, a structure in ruins and a river surrounding Lisbon and winding through the city’s outskirts — lay the foundation for a historical inventory of a military defence line that with time assumed a different role and another meaning. This anachronous defence wall sets a paradox before our eyes — it began as a military defence complex to keep the French from the capital during the invasions at the beginning of the nineteenth century; and now, more than a century later, it’s a territory where a by-and-large African population coming from the Portuguese ex-colonies, established their communities when they found themselves with no means to live in the prosperous, much-desired capital.

South Circular

Shorts Program 13

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