MIX NYC - I Owe You Nothing *fuck normal, queerness as opposition


TICKETS: http://mixnyc.org/mix/tickets/nothing

WEB: http://mixnyc.org/mix/programs/nothing

Where do you go when no one is home? These films explore how queerness can be established in opposition to cultures that seek to repress, assimilate, and further force resistant bodies and desires into that most hideous of niches--normal. And yet we resist in ways that are both quiet and calculated; we create, we devastate, and we devour. In the words of filmmaker Vika Kirchenbauer, "This morning I woke up and the day was beautiful...[I] spent the day in bed thinking, 'Fuck you, world. I owe you nothing.'"
--Curated by the Festival Programming Committee.
Total Running Time: 70 min.



MIX 25 - NOVEMBER 13-18

Don't forget, MIX is known for magical spatial transformations (hint: this year's theme involves cocooning and hammocks!), incredible installation art (which you can read about here: http://mixnyc.org/mix/installations), and a vibrant lounge space populated by queer filmmakers, curators, artists, and, well, fabulous hotties. Plan to HANG OUT BEFORE OR AFTER THE SHOW, enjoy a beverage and some good company!



How to Talk to Kids
Scott Fitzpatrick
2011, Canada, super8mm, color, sound, 3 min. US Premiere
Shot for the 2011 WNDX One Take Super 8 Event, How to Talk to Kids is a ghostly, melancholic adaptation of The Life Cycle Series of educational books for children and parents.

Queer in Kansas
Peter Max Lawrence
2008, USA, video, color, sound, 18 min. NY Premiere
Queer in Kansas follows a despairing young artist as he remembers and relives a childhood spent in the Midwestern closet. Jarringly, Lawrence juxtaposes childlike drawing and story techniques to brood on his adult disappointments and traumas: a wobbly-lined animation flickers while a computer reads his artist statement, and a picture book tells the story of his rape by a cowboy trucker. Lawrence confesses his loneliness to his camera; a blackbird, from superimposed Super 8 film, flies over his cheek, and disappears. That short, uncomplicated sequence brings clarity to Lawrence’s running monologue. Similar light, understated moments throughout the film helps Lawrence manage his elaborate subject matter.

Gold Moon, Sharp Arrow
Malic Amalya & Max Garnet
2012, USA, 16mm, color, sound, 12 min. NY Premiere
Against a backdrop of electrocution, dominance, and scientific precision, a wasp nests in an abandoned refrigerator, eyelashes flutter, curtains blow in open windows, and queers congregate. Adapting Stanley Milgram's 1963 experiment on obedience to authority, Gold Moon, Sharp Arrow explores how queer communities reenact, resist, and respond to assimilation, coercion, and trauma. While queer culture can be a radical place of healing and transformation, it also has the ability to employ the violence of dominant culture. Utilizing the language of conceptual art and avant-garde cinema, Gold Moon, Sharp Arrow straddles the political, emotional, and sexual tensions of ever-evolving queer communities.

Razor Head
Tom Chomont
1984, USA, 16mm, color, silent, 5 min.
One brother shaves another in a highly charged erotic ritual that employs solarization, isolated to specific parts of the film frame achieved through A- & B-roll printing.

Something Dangerous
Zavé Martohardjono
2012, USA, video, color, silent, 7 min. NY Premiere.
Thoughts pass through my head when I perform my own weekly grooming rituals. Thoughts about you who sees—or doesn't see—me. Thoughts about me, inside this body I happen to be in. Thoughts about these gentlest expressions of in-between-ness—a masculinity that is nothing other than dangerous.

Like Rats Leaving a Sinking Ship
Vika Kirchenbauer
2012, Germany, video, color, sound, 25 min. US Premiere
Partly based on the author's psychiatric assessments diagnosing her with “Gender Identity Disorder,” Like Rats Leaving a Sinking Ship is an intimate piece that combines personal subjectivity with the clinical objectivity of medical reports, challenging the very notions of these categories. As evocative images inconspicuously blend with found family footage, a multilayered reality emerges in which the distinction between what is true or false becomes unimportant and obsolete.


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