anticipated artists in person: Dianna Barrie, Lydia Moyer, Michael Robinson, Takahiro Suzuki and Richard Tuohy
pictured above: Onward Lossless Follows (2017) by Michael Robinson
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Single Screening Admission: $12 general/$10 Cinematheque and SFMOMA members with member code. Single Screening advance tickets available here.
CROSSROADS festival day pass (Saturday & Sunday only): $25
CROSSROADS festival day pass provides admission to all daily CROSSROADS screenings and general admission access to SFMOMA galleries (including CROSSROADS screenings in SFMOMA’s Gina and Stuart Peterson White Box Gallery). Sunday, June 10 CROSSROADS festival day pass available here.
NOTE: Admission to the special exhibition René Magritte: The Fifth Season is not included with the festival day pass but can be purchased here.
Films on human frailty and human strength, on resilience—physical, emotional and spiritual. Films on going with the flow and swimming against the tide. Theories of parallel worlds are presented; indeterminate states of matter and existence are contemplated and proffered. Password protected love affairs. Is there help in the stars? How much light do we see? The universe has its ways.
Onward Lossless Follows (2017) by Michael Robinson (USA); digital video, color, sound, 17 minutes, exhibition file from maker bay area premiere
A password-protected love affair, a little vapor on Venus and a horse with no name ride out in search of a better world. Against the mounting darkness, a willing abduction offers a stab at tomorrow. (Michael Robinson)
Schrödinger’s Cat Part I (2017) by Takahiro Suzuki (USA); VHS, color, sound, 6 minutes, tape from the maker bay area premiere
Circling the topics of parallel universes and the famous question about a hypothetical cat in a box, Schrödinger’s Cat Part I contemplates the practices of observation and theory in relation to astronomy and the parallel. (Takahiro Suzuki)
The Crack-Up (2017) by Jonathan Schwartz (USA); 16mm, color, sound, 18 minutes, print from maker bay area premiere
“The ability to hold two opposed ideas in the mind at the same time, and still retain the ability to function. One should, for example, be able to see that things are hopeless and yet be determined to make them otherwise.” (F. Scott Fitzgerald: The Crack-Up, 1936)
Entry Note (2018) by Saul Levine (USA); 16mm b&w, sound, 3 minutes, print from the maker bay area premiere
A small apocalypse
on the threshold of disaster
Solstice (2017) by Lydia Moyer (USA); digital video, color, sound, 3 minutes, exhibition file from maker bay area premiere
An election re-orders the natural world. (Lydia Moyer)
Blinding and Blending (2018) by Dianna Barrie & Richard Tuohy (Australia); 16mm, color, sound, 11 minutes, print from maker bay area premiere
Screens and partitions; windows and shutters; grids, curves and arches. Three peoples, one country: Malaysia. (Dianna Barrie & Richard Tuohy)
Water/Mist/Fire/Off (2017) by Youngzoo Im (South Korea); digital video, color, sound, 15 minutes, exhibition file from the maker U.S. Premiere
Water/Mist/Fire/Off is a panoply of rather drowsy story pieces about fire. In this simulation video which waits for a fire to break out, conversation continues between the witness of an accident and the analyst interpreting it. In the production process, posts uploaded on an online dream-reading community, fire simulation video clips and a thesis regarding the psychology of arson were referred to and used. (Youngzoo Im)
CROSSROADS 2018 is generously supported by: the National Endowment for the Arts, the Fleishhacker Foundation, San Francisco Hotel Tax Fund/Grants for the Arts, the Willow Foundation, the Andy Warhol Foundation for the Visual Arts and Cinematheque’s Members and Donors.