Olivia may have felt no need to change, but the world around her was not bound by such an impractical sentiment. Olivia’s Place is gone. The site where it used to stand is now a sort of plaza between two large old wood-frame houses that were moved to their present location from elsewhere in the city. One of these houses is occupied by a restaurant, the other is occupied by the California Heritage Museum. (Morgan Fisher)
Also in this combined programme
-
Documentary Footage
Morgan Fisher’s rarely seen early masterwork, in which an artist’s model gives an endlessly nuanced performance of self-investigation. -
7362
Pat O’Neill’s celebrated mind bomb, the L.A. film that launched a thousand other films. Contact printing, hand processing, and solarisation mix in a b -
By the Sea
Pat O’Neill’s first film (made with Robert Abel) is an observation and transformation of the fascinating forms to be found at Muscle Beach in 1963. -
Future Perfect
A camera follows a map through a defined space, while markings representing the camera’s movements appear on the film strip itself with increasing fre -
Dead Reckoning
A hand-held shot of a cross in the desert is reframed via optical printing, translating its pictorial movements to explicitly cinematic ones in a subt -
Hand Held Day
An entire Arizona day in six minutes of Kodachrome, breathtakingly contained in a small mirror held in the filmmaker’s hand. -
Mirror People
Kathy Rose’s absurdist animation features numerous grotesque characters noisily inhabiting an uncertain and uneasy environment. -
Venusville
The two filmmakers had a bet: how easily can you tell the difference between a moving image of a still object, and a freeze frame…
Film details
- Country of production
- USA
- Year
- 1966
- Festival edition
- IFFR 2011
- Length
- 6'
- Medium/Format
- 16mm
