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January 9th: Jennifer Montgomery’s The Agonal Phase & Michael Wallin’s Decodings
Image by uniondocs
We are excited to partner again with the Robert Flaherty Film Seminar to bring in Jennifer Montgomery who presents her feature Deliver on Monday at Anthology Film Archives as part of their monthly Flaherty NYC Series.
The Agonal Phase by Jennifer Montgomery
USA, 2010, 42 minutes, digital projection
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.
The agonal phase: the visible events that take place when life is in the act of extricating itself from protoplasm too compromised to sustain it any longer. They are like some violent outbursts of protest arising deep in the primitive unconscious raging against the too-hasty departure of the spirit; no matter its preparation by even months of antecedent illness, the body often is reluctant to agree to the divorce.
Decodings by Michael Wallin
USA, 1988, 16 minutes
“Michael Wallin’s Decodings is a profoundly moving, allegorical search for identity from the documents of collective memory, in this case, found footage from the ’40s and ’50s. … The search for self ends in aching poignancy with stills of a boy and his mother at the kitchen table, catching the moment that marks the dawning of anguish and loss; desire becomes imprinted on that which was long ago.” – Manohla Dargis, The Village Voice
“Decodings is a magical, seamless work that manages to beguile even as it probes areas tender to the touch. Its tale is beautifully told ….” – Patrick Hoctel, SF Weekly
“Explodes with Buñuel’s sensuousness and a Hitchcockian narrative irony ….” – Doug Sadownick, LA Weekly
“Wallin’s achievement in Decodings is to create a powerfully inventive work that conveys with dramatic intensity strong feelings of remembrance and loss from images that have been extracted from the culture. … Wallin has succeeded in creating from various film sources a work that emphasizes the fragility and ultimate vulnerability of human expression and relationships.” – John G. Hanhardt, Whitney Biennial catalogue, 1989
Jennifer Montgomery’s film titles include Deliver (2008), Notes on the Death of Kodachrome (2006), Threads of Belonging (2003), Transitional Objects (2000), Troika (1998), Art For Teachers of Children (1995), I, a Lamb (1992), Age 12: Love With a Little L (1990), and Home Avenue (1989). Her newest film, The Agonal Phase (2010), recently premiered at the New York Film Festival.
These films range from experimental essays to experimental features, and are distributed by Zeitgeist Films, Waterbearer Films, Women Make Movies, and Video Data Bank. Her work has shown at international festivals, as well as the 2008 Whitney Biennial (NYC), MoMA (NYC), the Brooklyn Academy of Music, the Gene Siskel Film Center (Chicago), the ICA (London), and the Walker Arts Center (Minneapolis). She has been the recipient of many grants, including a Guggenheim Fellowship. She currently lives in Chicago.
Moyra Davey is an artist and writer. In 2008, she was the subject of an expansive survey at the Fogg Art Museum at Harvard University. Recent group exhibitions include Photography on Photography: Reflections on the Medium since 1960 at the Metropolitan Museum of Art, New York (2008); and Calendar of flowers, gin bottles, steak bones (with James Welling and Claire Pentecost), Orchard, New York (2007). Davey is the author of Long Life Cool White (Harvard/Yale, 2008) and The Problem of Reading (Documents Books, 2003), and is the editor of Mother Reader: Essential Writings on Motherhood (Seven Stories Press, 2001). She was a founding member of the collaborative gallery Orchard in New York; with Jason Simon, she co-hosts the annual One Minute Film and Video Festival in Narrowsburg, NY. In 2008-9, Davey participated in the International Residencies Program at The Cité des Arts in Paris. She is a recipient of an Anonymous Was a Woman award, and is represented by Murray Guy in New York.
Michael Wallin has been at the nerve center of San Francisco filmmaking since the late sixties, when he studied with Bruce Baillie, James Broughton and Peter Kubelka; he was for years a co-manager of the Canyon Cinema Cooperative. He wasa recipient of the 1988 Phelan Art Awards in Filmmaking. Robert Anbian in Release Print described Wallin’s films as “intensely personal, autobiographical works [which] seek a kind of metaphoric transformation in the manipulated film image.”
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