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  • Periwinkle Cinema: Hanky Code The Movie

    This February, the day after Valentines Day, Periwinkle Cinema presents Hanky Code The Movie as part of a larger action that we hope will help to link our LGBTQQIA community together in these trying times. Periwinkle Cinema invites folks across the the states to get together with their friends and loved ones and host viewing parties at your home, school, church, DIY Queer underground space and raise some donations for your local queer organizations. Periwinkle Cinema will make Hanky Code The Movie available to who ever wants to take part in Hanky Code Across America. Please contact us at periwinklecinema.com and we will get you the movie.

    Before Internet dating and hookup apps, The Handkerchief Code was largely used by gay men in the 1970’s to distinguish sexual preferences and fetishes in gay clubs and on the streets of places like San Francisco and New York. In Hanky Code: The Movie, Periwinkle Cinema, San Francisco’s queer experimental film collective brings Queer and Trans* filmmakers from across a spectrum of genres, styles, genders, and locations to dissect the code in this epic anthology feature of 25 short films! Each filmmaker or filmmaking team tells a story of a different fetish/color of the code. Films range from narrative to experimental, erotic to animated, with many films redefining the traditional code with colors, patterns, and fetishes up to creative interpretation of the artist.

    Black – Flagging Black by Ivy Dykes
    Grey – Grey Is For Bondage by Lorin Murphy
    Light Blue, White Stripes by Lex Non Scripta
    Blue Silver by Marie Walz
    Light Blue by Ricky Lee
    Teal Blue by Kolmel W Love and Alex Albers
    Red by Caitlin Rose Sweet and André Azevedo
    Maroon – HEMA by Ashley Monique George
    Rose by Ilona Berger
    Magenta by Gentry McShane
    Purple by Anatomically Incorrect Doll and Char Vortryss
    Lavender – L is For Lavender by Margarita Femmeinista
    Yellow – Pee Colored by Katie Bush
    Pale Yellow – Spit by Malic Amalya and Nathan Hill
    Gold – 2 looking for 1 by Jamie Evelyn Manzi
    Orange – Anything Goes by Stéphane Gérard
    Apricot – Apricot 4 Apricot by Courtney Trouble
    Lime – grrrl with the most cake by Jacqueline Mary and Violette Dentata
    White Fur by Neve Be and Nikki Silver
    Fur by M. O’Herlihy
    Grey Flannel by Austin Boe
    Silver Sequins – Flagging 4 Fashion by Moon Ray Ra
    Kleenex by Kico Le Strange
    Houndstooth – Mouth Wide Open by Siobhan Aluvalot
    Indigenous Luvvv by Demian DinéYazhi
    Credit sequence by Lisa Ganser
    Theme Song by nomy lamm
    84 min

    As always, FREE POPCORN, Raffle and door prizes! Snacks, Beverages will be available for purchase in our snack bar!

  • BREAKING UP IS HARD TO DO: A PROGRAM OF LOVE, HEARTACHE AND SENSUALITY

    A special VALENTINES DAY screening @ ARTIST TELEVISION ACCESS in PARTNERSHIP WITH CANYON CINEMA.
     
    FILMS TO BE SCREENED:
     
    CAROLEE SCHNEEMANN – PLUMB LINE, 1968-71, COLOR, 15M
    Plumb Line: Plump line full rounded plumbs drop or descent abounding in, plume abrupt plunge, testing vertically/perpendicularity of wall, sounding (downright), level, true, ecactly, (U.S. slang) utterly crazy, measure, depth, make vertical. Pendulum (Carpentry), Plumber, lead ball, join, joint.)
    Plumb Line is made from scrap. Footage shot in 8mm and 16mm ’68-69, a film diary of daily movements-the couple. Sounds of my cat singing, repeated cries of ‘no’, sirens screaming, my voice describing food from the maze of a breakdown, his voice ‘tell me a story…I’ve got a truck you know’. Moving footage into freeze frames, stills animated, 8mm mirror printed as 16mm, images in 16mm reshot in 8. A portrait of a man and the dissolution of a relationship and of the film itself. The accumulation patterns of imagery are finally set on fire. Sound and images edited during ’70-72. – C.S.
     
    Plumb Line was beautiful, it seemed to be laying everything open, even more than Fuses – a very private film, and as clear as crystal.’ – David Curtis.

    The dissolution of a relationship unravels through visual and aural equivalences. Schneemann splits and recomposes actions of the lovers in a streaming montage of disruptive permutations: 8 mm is printed as 16 mm, moving images freeze, frames recur and dissolve until the film bursts into flames, consuming its own substance. -EAI
     
    SU FRIEDRICH – RULES OF THE ROAD, 1993, COLOR, 31M
     
    Rules of the Road tells the story of a love affair and its demise through one of the objects shared by the couple: an old beige station wagon with fake wood paneling.

    A typical American family car for an atypical American family, it provides the women at first with all the familiar comforts. But when their relationship ends, the car becomes the property of one and the bane of the other’s existence. Even long after their separation, this tangible reminder of their life together—and thousands of its imitators—continues to prowl the streets of the city, haunting the woman who no longer holds the keys either to the car or the other woman’s heart.

    Through spoken text, popular music and images from the streets of New York, Rules of the Road takes a somewhat whimsical, somewhat caustic look at how our dreams of freedom, pleasure, security, and family are so often symbolized by the automobile.

    “… the light, almost whimsical tone of the film should not blind us to the part of it that is irreducibly personal. Station wagons are everywhere; everybody’s got a sad love story. But only one filmmaker, to my knowledge, has Su Friedrich’s eye….With Rules of the Road, she creates a film like a perfect short story.”
    —Stuart Klawans, THE NATION

    CHICK STRAND – FEVER DREAM, 1979, B/W, 7M

    A wet hot dream about sensuality.
    ***** 
    This screening is a part of the Canyon Cinema 50 project. Canyon Cinema is thankful for the long term support of the George Lucas Family Foundation. Dedicated project funding for Canyon Cinema 50 has been generously provided by the Andy Warhol Foundation for the Visual Arts, National Endowment for the Arts, Owsley Brown III Foundation, Phyllis C. Wattis Foundation and The Fleishhacker Foundation.

  • Not Reconciled (German: Nicht versöhnt)

    Not Reconciled (German: Nicht versöhnt) is a 1965 West German drama film directed by Jean-Marie Straub. It has the subtitle Only Violence Helps Where Violence Reigns (Es hilft nur Gewalt wo Gewalt herrscht).

     

    Please watch the film on youtube and come for viewing and discussion at ATA on Monday 2/13 @ 7:30 pm.

    https://www.youtube.com/watch?v=CvC-JECLwqI