EIC 9.72 (2014)

Experiments In Cinema v9.72 was held April 14–21, 2014 at a variety of venues in Albuquerque. Over 100 films were shown over the course of the week. More than 30 countries were represented in the festival. Below are just a few of the films shown during EIC v9.72.
Download a .pdf of the entire program schedule.

A short history of abandoned sets
A SHORT HISTORY OF ABANDONED SETS
Postcards by Ana Husman
POSTCARDS
I Don't Touch the Gold
I DON'T TOUCH THE GOLD

by Ra di Martino, Italy/Morocco, 8 minutes, 2012. Abandoned movie sets are used. The actors are two local kids, born not far from the

film studios—now almost abandoned. The two kids re-enact a few lines from movies that have been shot there, an American horror movie and Lawrence of Arabia. http://vimeo.com/66261554

by Ana Husman, Croatia, 23.5 minutes, 2013. A variety of educational methods used in a Croatian language instructional guide are employed as starting points for developing improvised and performative situations. Additionally, musical numbers have been added using animal costumes derived from the Croatian national insignia.
http://vimeo.com/80992358

by Paulina Pisarek, Senegal, 51 minutes, 2013. Mama Sissoko is responsible for cleaning in the gold village. Mama Sissoko is not interested in finding gold or that kind of life. She is alone, one soul against all. 
http://vimeo.com/87858522

Radish
RADISH
Maritza Tommaso Okarvavena
MARITZA TOMMASO OKARVAVENA
Trip The Light Fantastic live performance
TRIP THE LIGHT FANTASTIC

by Diego Ramirez, Mexico, 4.5 minutes, 2013. Radish is a creature without name, gender, or citizenship, a meaningless blob.

http://vimeo.com/72634752

by Krasimir Dobrev, Bulgaria, 2 minutes, 2012. Filippo Tommaso Marinetti and I are inseparable friends, but Marinetti died a long time before I was born. Maritza is not a river, but our sister who appears in our dreams. I call my ability and knowledge ‘quasilocatia’ and Marinetti and the old Bulgarian anthem can’t be blamed. 

by Kerry Laitala, 12 minutes, 2013.

Circular-patterned motions establish a visual dance upon the screen. A Victorian-era tightrope walker draws attention to the precarious nature of loop-based live performance. Sparks thrown from a grinding wheel recall the ancient affiliation of friction and illumination. This performance ultimately seeks to work with the rhythms of Neal Johnson’s musical accompaniment to sculpt light in real time at the caprice of the projectionist.
http://vimeo.com/58651437