Blog

  • Taking Root

    taking root

    Taking Root tells the story of the Green Belt Movement of Kenya and its founder Wangari Maathai, the first environmentalist and first African woman to win the Nobel Peace Prize. Through TV footage and chilling first person accounts, Taking Root documents the dramatic confrontations of the 1980s and ’90s and captures Maathai’s infectious determination and unwavering courage. Cinema verité footage of the tree nurseries and the women and children who tend them brings to life the confidence and joy of people working to improve their own lives and ensure the future and vitality of their land.

    The San Francisco Bay Area Chapter of the US National Committee for UNIFEM (UNIFEM/USNC) was launched in June of 2009.  UNIFEM is the United Nations Development Fund for Women, and it works on women’s rights and development issues across the globe.  We are committed to expanding support and raising funds within the United States for UNIFEM.  Through our efforts we hope to encourage ourselves and others to become involved in advancing women’s rights around the world.

    If interested in learning more, please send us an email at sanfranbayarea@unifem-usnc.org.

    About the Film Series:

    This monthly film series will look at women’s rights and development issues. Each month, a film that touches on one of the four themes of UNIFEM (The United Nations Development Fund for Women) will be selected.  These four themes are:

       – enhancing women’s economic security and rights,
       – ending violence against women,
       – reducing the prevalence of HIV and AIDS among women and girls, and
       – advancing gender justice in democratic governance in stable and fragile states.

    After each film, a discussion will be held that focuses on the issue being highlighted and what local Bay Area organizations are doing to address that issue.

  • Extreme Animation

    This eye-popping orgy of high-energy pixilation showcases some of the most aggressively ingenious graphic masters in the States today. Shalo P steps in as guest emcee to introduce the torrent of tropes, trips, tricks, and tits that reflect the manic obsessions of underground collage, scratch-video, and neo-psychedelic compositors. An absurdly dazzling 20-miin. set (including a cameo by Shana Moulton) of Jacob (Paper Rad) Ciocci’s West Coast premieres provides the post-Pop anchor for the program, while our kinky Queen of Quirk Martha Colburn commences the show with the Bay Area debut of her two new works, Electric Literature, and Triumph of the Wild Pt. II. Nate Boyce premieres his sublimely abstrakt Polygon, John Jota Leaños contributes his kinetic cult-fave Los ABCs, Kelly Sears shares He Hates to Be Second, and Shalo himself pitches in with a piece specially made for the occasion. PLUS other flickering pix from Semiconductor, TV Sheriff, Thomas Helman, and a chestnut from Cory McAbee. Come early for a spectacular sampling of Colburn’s light-show collaborations with Deerhoof!

  • COLLABORATIVE DREAMS Improvisation-based videos by David Finkelstein

    Tonight New York artist David Finkelstein will present his video work, dramatic, hallucinatory explorations of the inner landscape, at Artist Television Access. His videos are based on completely improvised dialogues, in which two actors explore their inner visions in a process which Finkelstein compares to a collaborative form of dreaming. These dialogues are then transformed into dynamic, complex, and meticulously crafted compositions of original music, words, and visual images. Works to be screened will include Terrifying Blankness (2008) featuring Cassie Terman, and Reproductive Technology (2008) with Allison Farrow, as well as several shorter videos. Finkelstein has been making theater since 1982, and video since 2000. His work has been screened at  numerous festivals and venues, winning 9 awards.

    “The throughline is one of emotions, of moods and energy. These pieces are filled with ideas;  you don’t stop thinking while you’re
    watching, but the intellect doesn’t run the show. If you get inside the feelings of these films, they make sense.
    –Lawrence Toppman, The Charlotte Observer