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The Target Shoots First
7:30pm Cell
Christopher Wilcha, 1999, 70 min

"In 1993, pensive punk rock fan and recent philosophy major Chris Wilcha finally buckled down and got a real job: an entry level marketing position at mail-order giant Columbia House, when the music club was just beginning to look into the new trend of 'grunge music' as a way to keep profits flowing. The suits were searching for a Gen-X informer, but Wilcha just wanted to pay his rent. In a supreme act of hipster nerdiness, Wilcha brought his new Hi-8 video camera to work with him each day to record his midtown experiences. Out of over 200 hours of footage he crafted this documentary, a first-person account of how the Age of Cobain played out in the music industry's most unglamorous wing. Low-fi, low-key, and unpretentious, The Target Shoots First takes it cues from the earnest post-adolescent soul-searching of indie rock, and the workplace frustrations of contemporary zines like Processed World and Temp Slave. As such, it's a dead-on early 90s time capsule." - New York Press. "A hilariously acidic, all-access indictment of corporate culture and his own yearlong complicity" - Spin. "Delicately explores corporate politics [and] the concept of selling out" - New York Times. -NYUFF

preceded by:

Preserve Your Estate
Animal Charm, 1999, 10 min

Big Rattle in Seattle
7:30pm Cell
Flaco Blag, 2000, 24 min, North American Premiere

"An activists-eye view-of the blockades that brought the World Trade Organisation to its knees on the streets of Seattle on November 30, 1999. Filmed on a shoestring budget of... er... sod all, the film is intended to inspire and incite wronged people from every point of the bloodstained compass. In a fog of gas and old bill the righteous dragon of global resistance takes on the corporate-led forces of evil, and wins."

preceded by:

Brian Standing, 2000, 38 min, West Coast Premiere

Pedalphiles follows the adventures of S.C.A.B. (Skids Creating Apocalyptic Bicycles), a roving gang of bicyclist-artist-philosophers hell bent on ridding the world of automobiles. Using trash nabbed from the Madison, Wisconsin streets, S.C.A.B. recycles junked ten-speeds and kids' scooters into nightmarish vehicles of urban terrorism. Between infiltrating events sponsored by tamer bycicle enthusiasts and wedging ill-fitting Huffies together with hacksawa and butterknives, S.C.A.B. members find time to muse on anarchy, consumer culture, proper bunny-hopping techniqe, the failure of the media and the purpose of art. "It's an experiment in phenomenology," says S.C.A.B. co-founder Michael Spelman, "butit's also nice to piss of cars."

and also:

small lies, Big Truth
Shelly Silver, 1999, 19 min

In turns funny, disturbing and glisteningly sensual, Small Lies, Big Truth is a tape about love, relationships and the joys and banalitiy of sex in the late 20th century. it also touches on such issues as morality, voyeurism, nature vs. culture and power, as eight people read fragments from the testimony of William Jefferson Clinton and Monica S. Lewinksy, as published in the Starr Report. These four couples include an older man and a younger woman, an older woman and a younger man, an older man and a younger man, and a younger woman and an older woman.

The Shield Around the K
9:30pm Cell
Heather Rose Dominic, 2000, 85 min

The Shield Around the K Heather Rose Dominic, 1999, 85min The Shield Around the K profiles the birth and growth of influential Olympia-based punk rock DIY record label K Records. Over the years, the scrappy lil' company has launched key indie artists like Beat Happening, Love as Laughter, Dub Narcotic Sound System, the Make Up, Lois, Microphones and Cadallaca, as well as releasing material from Jon Spencer Blues Explosion, Beck and many others. Co-founders Calvin Johnson and Candice Pedersen are interviewed along with over twenty K artists and peers, including Mecca Normal, Lois, Rose Melberg, Ian MacKaye, Slim Moon, Dean Wareham and many more. The tape includes live performances by Calvin Johnson's Beat Happening, rarely-seen Super-8 music videos by Patrick Maley, and footage of the international Pop Underground Festival. A do-it-yourself video with a zine spirit, The Sheild Around the K gives all you always-hungry hipness-junkies a nice fat dose of uncut indie info and sublebrity star-gazing. So take a seat, music friends, and enjoy. -NYUFF

Once & Future Queen
9:30pm Cell
Todd Verow, 90 min, West Coast Premiere

Antimatter (Philly) is the queen of nothing, the ruler of nowhere - in other words, she's too cool for you - but can you put her up for the night? Drifting through the Lower East Side like the death-rattle echoes of rock and roll, she's on a desperate, desolate mission to get her band together and finally conquer something, anything. Her manic manipulations and chaotic philosophies never seem to gel in the present - she's either a step behind or two steps ahead - but never where she really sees herself to be - wherever that is. Bored with the dangling fly-strip tease of fame that has eluded her her whole life, she's nevertheless only alive on stage; dreaming of a place where no one will unplug that amp, threaten her life or shovel her out the door in the morning. Of course her rampant drug and alcohol use, her frequent homelessness, the fact that she isn't getting any younger and that she's been married more times than Liz Taylor doesn't help. As her connections to reality slip away in the haze of her traveling sideshow lifestyle, the inferno of celebrity and self-destruction seductively beckon. ONCE AND FUTURE QUEEN is a woman destined to be at the wrong place at the wrong time and somehow make that into a fashion statement. If you've ever felt used and abused, under appreciated, scraped off the sidewalk or simply horny, Antimatter has some advice for you. She's been there, done that and didn't give a shit. Or so she says. "Downright stunning ...Cute movies like "Smithereens" should be formally interred under well-worn tapes of Once and Future Queen." - Peter Hall, New York Independent Film Monitor

Unruly Technology shorts program
6pm ATA

Unruly Technology uses video in ways the Sony Corporation never intended. This program of experimental short videos, curated by the staff of Artists' Television Access, violates the conventions of moviemaking: reliance on linear narrative, assumptions of heterosexuality and faithful consumerism, and objective reality. Jem Cohen's "Little Flags" and Charles Woodman's "Quique" question the conventional image of good Americans: "Quique" explores the experience of being an immigrant outsider inside the nation's capital, while "Little Flags" juxtaposes footage of flag-waving patriots celebrating America's Gulf War victory amidst piles of garbage and detritus, pointing to the uncontrolled excesses of American culture. Megan Miller challenges the authority of news documentaries with "Marfa", a short mockumentary about West Texas and the inhabitants of its rumored UFO capital. "Product/Process" by Jon Shumway is a critique of consumerism and marketing image, juxtaposing wholesome Campbell's soup with its mass-produced, assembly-line, manufactured nature. "Homecomings" by Irina Leimbacher questions the notion of home, where personal sites of permanence are revealed to be fragile, vulnerable, fraught with instability. Dayv Jones' "diction fairie i: movement" abstracts motion (both physical and cinematic) through the use of video and audio collage. Also featured: talented local filmmaker, Ilona Berger's "New Year's Eve", seminal San Francisco punk rock video artist, Sadie Shaw and Tina Gordon's "Madeline's Valentine Day Party", and the grassroots, radical,
"Revolution Now" by Smith.

"Madeline's Valentine day party"(20min) by Tina gordon & Sadie Shaw

"New Year's Eve" (3 min) by Ilona Berger

"Marfa"(10 min) by Megan Miller A short mocumentary about West Texas and the inhabitants of its rumored UFO capital.

"Homecomings" (2000, 10min) by Irina Leimbacher Three separate journeys to people or places I once thought of as home. Each is revealed to be fragile, vulnerable, fraught with instability.

"Little Flags" -- (1999, 6 min) Jem Cohen , experimental video depicting a patrioticGulf War rally in a disjointed, distant manner. Black and White footage of flag-waving patriots celebrating America amidst piles of garbage and detritus, obliquely points to the uncontrolled excesses of American culture.

"Quique" (1996, 3:30 min) by Charles Woodman A look at the immigrant experience in the urban United States. Shot on location in the Adams Morgan neighborhood in Washington DC, the program features poetry, artwork, and performance by poet Enrique Avile . Shown at Dallas Video Fest, Thaw Video Fest, Honorable Mention Blak Maria, Thomas Edison Film and Video Fest.

"Product/Process" -- (2 min) Jon Shumway , digital video juxtaposes wholesomeCampbell's soup with its mass-produced, assembly-line, manufacturednature.

"diction fairie i": movement (9:20, 2000) by dave jones multiple definitions of movement through the use of video and audio collage.

Grafitti Verite 3
8pm ATA
Bob Bryan, 2000, 54 min, Premiere

Award winning independent filmmaker Bob Bryan presents GV3: The Final Episode (Graffiti Verite' 3). GV3  is the latest installment of his three (3) part documentary series exploring the controversial underground Graffiti Art Movement.  In GV3, Bryan steps away from the traditional storytelling format this time around and reinvents himself by using contemporary musical idioms from different countries to proclaim the narrative. Ethnic, World, Hip Hop, Techno, Metal, Fusion, Ballads and House music all conspire to disorient our sensibilities and preconceptions about this underground art form. This experimental opus probes the socio-political context that distracts the average person from appreciating the historical artistic significance and social impact of Graf. Making a brief aural appearance is PJay, former leader of the infamous West Coast Artists Graffiti crew. Advising all who enter "to free your mind"; PJay's brief visit along with reoccurring visual cryptic billboards loom as apparitions  keeping the uninitiated on track in this complicated matrix known as Graffiti Art. "Graffiti found typically but not exclusively on the walls of our urban cities, clearly unveils the angst driven drama that exists within the psyche of the Graffiti Writer as well as in our conflicted egocentric society. Graffiti dares to show us what we've become. For many people this is a very difficult reality to come to grips with, especially if you're in denial of any complicity Graffiti mirrors the best and worst elements of our society... period," says Bryan. GV3 is a poetic voyage, a meditation into the iconography of Graffiti Art featuring an eclectic soundtrack as it's emotional and intellectual core. GV3: The Final Episode is a compelling sensorial experience, shockingly honest and defiantly politically incorrect. GV3 follows in the Golden footsteps of Bryan's documentaries Graffiti Verite' (1995) and GV2: Freedom of Expression? (1998) which are both considered urban classics and are currently in world wide distribution (

preceded by:

Beyond the Screams
Martin Sorrondeguy, 1999, 30 min

Beyond the Screams/Mas Alla de Los Gritos Martin Sorrondeguy, 1999, 30 min. Beyond the Screams is a half-hour video documentary about Chicano/Latino participation in U.S. punk and hardcore, a statement which hardly begins to encapsulate the project begun here. Bracketed by the early East L.A. punk scene (featuring too-short interviews with Alice Armendariz from The Bags and Teresa Covarrubias from The Brat) and '90s U.S. hardcore, Martin Sorrondeguy traces the historical trajectory of Chicano/Latino punk rock and more, its always-emergent body politic, with brilliant skill. In voice-over (as boys in a pit mosh in slow motion), Martin outlines the premise of Mas Alla: "The Latino punk scene in the early '90s really exploded because all of a sudden we had a hell of a lot to sing about. What started happening politically in the U.S. pissed us off so much, and we were feeling targeted and we were feeling cornered as a community that we began writing songs about it." As such, Mas Alla is incredibly moving and effective, and on a number of levels immediate and far-reaching. Well-edited interviews, stills and show footage make for a dense but riveting thirty-minute record of Chicano/Latino participation in punk rock, indexed here as a culturally vital and politicized counterpublic, a kind of punk rock "teaching machine." Members from Subsistencia, Kontra Attaque, Bread and Circuits, Los Crudos and Huasipungo discuss the political nature of their everyday lives and art, the implications of singing in Spanish and dialoguing at shows, and the mechanisms of both survival and insurgency. Newsreel clips of border patrol and police brutality are made that much more harrowing by Revolucion X's snarl-delivered cynicism, the words scrolling across a funereal black screen: "Killing Mexicans is too much fun!" Latin American dictatorships, NAFTA, a slew of anti-immigrant measures fuel the gut-level rage and critical impetus; corresponding resistance movements inform this unabashedly leftist analysis of punk as passionate politics. With all the revisionist timelines of punk rock being published, this is an important recovery and contextualization of otherwise hidden histories and unacknowledged influences. The result is a collective self-portrait of art as activism with transnational ramifications and impressive vision. -Punk Planet for full article:

And Playing all weekend outside the loo at Cell:
Pipe Dreams
Brett Simon, 2000

Bathrooms and video are the black sheep of the movies. Both are considered too ugly, too real, or too raw to merit time on the silver screen. When video does appear in movies, it is cast as the medium of choice for perverts and peeping toms. Video is the place where bad things happen, where the gritty details of the real world seep into our celluloid dream. The bathroom is also typecast as the site of dirty deeds, everything from gruesome murders to titillating peeps, to fart jokes. With Pipe Dreams I have attempted to challenge the usual roles played by video and bathrooms in the movies. I wanted to show video as not only as a tool of peeps and perverts, but as a storyteller in its own right. I wanted to use bathrooms not just as a site for scat gags and strip teases, but for romance and fantasy. Pipe Dreams does contain some peeping and a little toilet humor--I couldn't help myself--but also something different, something unexpected.

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