Thursday April 3 * 7pm * $10-20 * TICKETS
The featured short films investigate absent persons, missing knowledge, and impossible subject positions, laying bare the devastation—and enduring potential—of that which is unrealized, unreconciled, and unlived. Incorporating a range of traditional celluloid filmmaking techniques, the films enmesh the poetic and the mundane, always operating with acute self-awareness and an unswerving commitment to a forbidding formal logic.
Signs Point to Yes (2022) 16mm transferred to digital video. 4 min.
A cameraless film, a tea leaf divination.
I Am Learning to Abandon the World (2016) 16mm. Color. Silent. 10 min.
This found footage film strings together a series of unrelated shots from a trove of vintage films found at a Baltimore salvage house with new intertitles to create an elusive anti-narrative of absence, self-loss, and hidden threats.
Dream of Me (2007) 16mm and Super 8 film on digital video. Color. Stereo. 10 min.
Using images and testimony far-removed from the life of its ostensible subject, the documentary attempts to imagine a sister, a relationship, and mixed-race identity.
Bitter Medicine (2022 ) 35mm film transferred to video. B/W. Stereo. 3 min.
A cameraless film. An herbal elixir made from the artist’s dosage of Chinese herbs.
One Storey (2011) 16mm and Super 8 film on digital video. Color. Stereo. 13 min.
Moving from city to city, the unnamed narrator reflects on her experience of being embodied in space and time and dissects her connection to an unidentified acquaintance.
Even Lovers Have Still Lives (1999) 16mm. Color. Mono sound. 18 min.
The film co-opts and intertwines the stories of several historical and fictional "forbidden" love affairs in order to investigate whether narratives limit our imagining of desire.
How Do They Do It? (2020) 16mm. Color. Silent. 5 min.
How do they roll with the punches?
A. Moon is a Baltimore-based experimental filmmaker working with small-gauge, “amateur” technologies and found footage whose work has screened nationally and internationally over the past 25 years. Inspired by the goals and methods of political modernism, the cinematic avant-garde and feminist filmmaking of the 1970s, her work is intended to offer a corrective to the images and narratives of commercial media. She has been the recipient of awards from the Princess Grace Foundation and numerous film festivals. In recent years, she has also been a Fulbright Senior Research Fellow, a fellow with the Center for Asian American Media, and the recipient of grants from Maryland State Arts Council, Baltimore City Mayor’s Office, the Robert W. Deutsch Foundation.