Death and Dying

An homage to the death of the soap opera, The Evil Eyes is a 1960's era story of a grandmother faced with her mortality, a mother in mid-life crisis, and a son realizing his sexuality - a dysfunctional family whose unspoken angst manifests in the latest episode of their beloved supernatural soap opera, Before Dawn.

HalfLifers is an ongoing collaborative project created by longtime friends and fellow media artists Torsten Zenas Burns and Anthony M. Discenza. Embracing a gestural improvisation-based performance style and championing a rigorously low-fi aesthetic, HalfLifers engages a shifting region of speculative fictions, from play therapy and improvised crisis re-stagings to zombie architectural systems and psychic sandwich surgery.

In the aftermath of a death things may seem very quiet, but there are struggles going on so deep not even those who struggle can recognize them.  This film looks and listens for signs of those struggles.  Psychoanalytic interjections consider the nature of time and rumination, and are used to step outside of the terribly interiorized state of mourning.

-- Jennifer Montgomery

come lontano is a perverse historical romance in which two lives are exposed, inter-mixed, doused with sentiment, and--hopefully--redeemed. The work revolves around a central ‘couple’--Pier Paolo Pasolini and Maria Callas. There is a third main character, an ambiguous villain made of steel, glass and rubber. Each member of our central couple has her/his own external distractions which impinge--to varying degrees--on their brief, ecstatic encounter. This encounter was in fact a cinematic collaboration; it’s product the film Medea (1969).

Respite consists of silent black-and-white films shot at Westerbork, a Dutch refugee camp established in 1939 for Jews fleeing Germany. In 1942, after the occupation of Holland, its function was reversed by the Nazis and it became a 'transit camp.' In 1944, the camp commander commissioned a film, shot by a photographer, Rudolph Breslauer. “By exhuming the scattered fragments and traces of the phantom film (intertitle cards, ideas for the scenario, graphic elements), Harun Farocki inscribes the Dutch footage within the genre of the corporate film.

753 McPherson Street employs both original and found footage to represent a very old, passionate, and sometimes lucrative business–a funeral home, in Mansfield, Ohio. The title refers to its street location situated in Everson’s childhood environs.

Cast: DeCarrio Couley.

This title is only availalbe on Broad Daylight and Other Times: Selected Works of Kevin Jerome Everson.