Sunday, April 6, 2014, 12:00 am

CROSSROADS 2014 Program 9

choreographies of devotion, in the roaring traffic’s boom…


2961 16th Street

San Francisco, CA 94103

In Person: Sarah Rosalena Brady, Roger Deutsch, Laida Lertxundi, Mónica Savirón and Joel Wanek

Admission: [$5 members / $10 non-members]
Festival Pass: [$25 members / $50 non-members] available here
Order advance tickets for this program here
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CROSSROADS 2014 is sponsored by Ninkasi Brewing.
Thanks to our co-presenters, community partners and advertisers: 23FiveArtists’ Television AccessBAVC, Canyon Cinema Foundationthe Center for New MusicThe ExploratoriumFandor, Oddball Film + Videothe SF Dance Film FestivalShapeshifters Cinema and Yerba Buena Center for the Arts


Line Describing Your Mom (2011) by Michael Robinson; digital video, color, sound, 6 minutes, from the maker
“This is the new choreography of devotion, via the vlog of southern nightmares. This is the light that never goes out. This is the line describing your mom.” (Michael Robinson)

Faded Color (2013) by Sarah Rosalena Brady; digital video, color, sound, 4 minutes, from the maker bay area premiere
           “Faded Color is a 16mm alchemical film created to reprogram the self activation effect made by beauty advertising by repetitive body gestures shown in a hair color commercial. Its faded nature comments to the implicit message carried out by a woman's private life shown in an advertisement.” (Sarah Rosalena Brady)

After Hours (2013) by Karen Yasinsky; digital video, b&w, sound, 10 minutes, from the maker bay area premiere
           “After Hours originated with thoughts on senseless violence, cultural observation and hypnotism. My meditations on these involve anxiety and a sense of expectation (running from the personal and then elsewhere) which helped form the structure. Many of the images are repurposed, related but unhinged from their original context.” (Karen Yasinsky)

The Waiting Sands (2013) Margaret Rorison; digital video, color, sound, 5 minutes, from the maker
“My grandfather, Harry Bennett was a huge influence on me as a young artist and thinker. He was a painter and had made a living as an illustrator for Gothic and Romance novels in the 1960s and ‘70s. Last November, he was admitted to the hospital with terminal conditions. Unable to film him, I began to capture the harvest moon outside his bedroom window as a way to cope with the emotions I was experiencing. A few hours after this footage was shot, my grandfather passed away. This footage serves as a document of his last breaths. Soundtrack composed by Josh Millrod.” (Margaret Rorison)

Broken Tongue (2013) by Mónica Savirón; digital video, color, sound, 3 minutes, from the maker world premiere
           “Broken Tongue is an ode to the freedom of movement, association and expression. It pays homage to the diaspora of the different waves of migration, and of how we represent our narratives. This film is a search for a renewed consciousness, for reinvention, a ‘what if?’ the formal equivalent of asking a question, expressed with a broken tongue—or not so broken after all. Above everything else, Broken Tongue is a heartfelt tribute to avant-garde sound performer Tracie Morris and to her poem Afrika.” (Mónica Savirón)

We Had the Experience but Missed the Meaning (2014) Laida Lertxundi; 16mm, color, sound, 8 minutes, print from the maker bay area premiere

Scherzo (2014) by Roger Deutsch; digital video, color, sound, 5 minutes, from the maker U.S. area premiere
            “A jigsaw puzzle.” (Roger Deutsch)

Square Dance, Los Angeles County, California, 2013 (2013) by Sílvia das Fadas; 16mm, color, sound, 9 minutes, print from the maker bay area premiere
            The people are what is not there yet, never in the right place, never ascribable to the place and time where anxieties and dreams await. —Jacques Rancière
"One day while carrying Russell Lee’s photographs (from the Farm Security Administration Series) under my arm, someone asked me about the film, the film he assumed the images belonged to. I had to reply that there was no film, the images weren’t mine. But this question became an obsession, a ritornello. What film could be enclosed in those photographs? What was the context, the portion of the real there? Who were these people? Who was hosting the party? To what music were they dancing? Romantic songs, political songs? What were the relationships between the couples? How did the young man tear his shirt? What provoked the tension? And the expectation in their expressions?...  And why did they arouse in me such an emotional response, such a strong wish for a narrative, even a fragmentary one?" (Sílvia das Fadas)

Sun Song (2014) by Joel Wanek; digital video, color, silent, 15 minutes, from the maker bay area premiere
            “A poetic journey from the darkness of early dawn into the brightness of the midday sun in the American South. Filmed entirely on the number 16 bus route in Durham, North Carolina over the course of six months, Sun Song is a celebration of light and a meditation on leaving.” (Joel Wanek)
“The effect of the editing’s unification of multiple trips creates a tenor of these people never getting on or off the bus, indeed being sealed or trapped in its journey, and thus its somewhat dreamy vision of busing average people and of being unable to leave called to both Luis Buñuel's Illusion Travels by Streetcar and The Exterminating Angel. There is no end to the trip in Sun Song, but the light’s role does eventually have a hand in the conclusion, coming first flickering and then laying upon the seats and a final passenger like a passing revelation of an unspoken blessing.” (Daniel Kasman: “Rotterdam 2014. Deep Breaths.” MUBI Notebook, February 2014)

Affect Theory (2013) by Jeanne Liotta; 16mm double projection, b&w, sound, 9 minutes, prints from the maker bay area premiere
            “…a complex refrain for two 16mm projections in planet and satellite positions, with Cole Porter variations.” (Jeanne Liotta)