<img src="https://storage.googleapis.com/eventive-static/20776732fd54616fcbb128f30b943eb3.jpg" width="400" style="max-width: 100%; white-space: pre-wrap; display: block; margin: auto;"> ﻿Screening Schedule: <ul><li>6:00pm: Bree von Bradsky&nbsp;- Lavender Vista (15.5 min)</li><li>6:30pm: Julie Platner - Third Alternate Executor (20 min)</li><li>7:00pm: Moriah LeFebvre&nbsp;- by &amp; by (12 min)</li><li>7:30pm: Katelyn Auger&nbsp;- Paradise in the Pines (49 min)</li></ul> Thesis exhibition website: <a href="http://mfaeda2021.org" target="_blank">http://mfaeda2021.org</a> [For details about any film, click on the film's title in the right column]

Lavender Vista&nbsp;is a short experimental film that depicts the disorientating effects of coming out. Through the style of collage, the film weaves together archival home movies, educational films,&nbsp;and commercials to create a landscape that spans from the suburban U.S.A. to the celestial. The viewer is taken on a journey of shifting perspectives, becoming a passenger on my search for belonging.&nbsp; Filmmaker website: <a href="https://www.breevonbradsky.com/" rel="noopener noreferrer" target="_blank">www.breevonbradsky.com</a>

Lavender Vista

Third Alternate Executor&nbsp;is a short film exploring the life, mortality and ephemera of my uncle Kenny, a human deeply entrenched in an eccentric version of normative, white, lower-class social structures. The piece seeks to elaborate on&nbsp;performance masculinity, objecthood, class and “The American Dream.” The film serves as a form of reconciliation between the distorted cowboy masculinity modeled throughout my youth, and the long term impacts this trope has on the lived experience.

Third Alternate Executor

In her debut film,&nbsp;by &amp; by, Moriah LeFebvre utilizes hand-animation techniques to juxtapose the story of her great-grandmother’s twin boys, whose lives were lost to eclampsia in China in 1919, with that of her own twin boys, who survived the same fate a century later in the United States.&nbsp;Using a range of mixed media, LeFebvre draws source material from Grace’s memoirs, interviews with Grace’s last surviving child, public archives, and home videos. Words have an important role of this film, appearing as snippets of original text from Grace’s memoirs. The frames of her film are built in layers of acrylic paint and found and personal artifacts. The resulting work is at once deeply personal and universal, inviting us to see the poetry that underlies our connectedness both in times of grief and in times of joy. Filmmaker website: <a href="https://moriahlefebvre.com/" rel="noopener noreferrer" target="_blank">www.moriahlefebvre.com</a>

by & by

Paradise in the Pines&nbsp;is the culmination of two years exploring complicated feelings around family, environment, and memory. In reappropriating home movies alongside my 16mm footage, the work weaves together complicated but recognizable narratives hidden within a multitude of pocket universes. The project currently lives as a documentary film. The project currently lives as a fictional film. The project currently, does not live at all. Filmmaker website: <a href="http://www.katelynauger.com" rel="noopener noreferrer" target="_blank">www.katelynauger.com</a>

Paradise in the Pines

2021 MFA|EDA Thesis Show - Streaming Encore

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