John Erdman

John Erdman reprises his role as “Old White Male” from The Lobby, joined by a filmmaker and a robot version of himself, exploring absurdities of human existence through philosophical musings on cinema, technology, apocalypse, and more.
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Yvonne Rainer’s landmark film is a meditation on ambivalence that plays with cliché and the conventions of soap opera while telling the story of a woman whose sexual dissatisfaction masks an enormous anger. (Zeitgeist FIlms)Read More »

This is the new restoration of Yvonne Rainer’s Lives of Performers. Rainer’s debut feature film announced both her shift from the world of dance towards avant-garde cinema, and what would become a career-long interest in “women’s stories” and the teasing machinations of melodrama. The familiar tale of a man who can’t choose between two women and makes everyone suffer is reworked by Rainer as a jolting and radically austere, anti-illusionist spectacle, comprising dance rehearsals, photography, tableaux, and a flurry of fragments of text, both onscreen and not. Off-camera, multiple voices can be heard—including that of cinematographer Babette Mangolte, who was at the time just beginning work with a young Chantal Akerman.Read More »

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Agatha is an international lawyer, Jo a filmmaker. The two women are lovers. While Jo is on the road showing her films, Agatha discovers and reads her diaries. Problems ensue as Agatha’s transgressions lead to jealousy and a spiraling cycle of sexual obsession.

Sheila Dabney and Lois Weaver star in this landmark lesbian classic. Revelatory for its representation of a new lesbian desire, She Must Be Seeing Things put forth a politicized eroticism that mirrored the burgeoning butch/femme scene at the time. – First Run FeaturesRead More »

An archaeologist and a weapons designer, who knew each other in a previous life as a filmmaker and a psychoanalyst, meet at an excavation site in the Negev desert and begin a conversation about love and war.Read More »

A stark and revealing examination of romantic alliances, Lives Of Performers examines the dilemma of a man who can’t choose between two women and makes them both suffer. Originally part of a dance performance choreographed by Rainer.
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The final part of Heinz Emigholz’s “Streetscapes” series is a triptych. A prologue examines 3 buildings by Julio Vilamajó in Montevideo. The main part of the film is a cinematic documentation of 29 buildings by the Uruguayan architect and shell-construction master Eladio Dieste (1917-2000).Read More »

A film director confides in his interlocutor. He talks about the working process, about creative blocks, about artistic crises and expressive forces. At some point, the idea takes hold that this conversation could be turned into a film. And this is the very film we’re watching the two of them in.Read More »

Celebrated for his rigorous films about the experience of architecture (Schindler’s Houses, Loos Ornamental), Heinz Emigholz launches a new chapter of his “Photography and Beyond” project with an ambitious four-film cycle titled “Streetscapes” (which premiered to great acclaim at the recent Berlinale). The first installment is an open-ended response to Godard’s One Plus One, which chronicled the Rolling Stones in the studio at the height of the 1960s counterculture. This 21st-century update documents the German post-rock band Kreidler at work on their album ABC in a wood-paneled hall in Tbilisi, Georgia. Throughout Emigholz cuts to shots of the city streets outside and to the briskly leafed pages of his densely illustrated notebooks, while a voiceover ruminates on the nature of art and desire.Read More »