New Black Wave, Vol. 2

SHOWTIMES / BUY TICKETS
September 24 only

Presented by Canyon Cinema, Hello Benjamin Films, and Los Angeles Filmforum

The screening will be followed by a discussion with the curators, filmmakers Paige Taul and Moïse Togo, and writer and producer ruth gebreyesus.

New Black Wave showcases films by Black filmmakers that push cinema’s conceptual and aesthetic boundaries to explore deep-rooted emotions within the African Diaspora. Back for its second edition, the films in New Black Wave, Vol. 2 remix public and personal archives to reveal new meanings within familiar images of Black life in America. We bear witness to the absolute and overwhelming freedom exhibited in Black expression and the ever-present power of Black culture. The show features brilliant films by Michèle Stephenson and Imani Dennison, Julie Dash, Ja’Tovia Gary, Paige Taul, Jenn Nkiru, Moïse Togo, and Darol Olu Kae.


Program (In playing order):

 i ran from it and was still in it (Darol Olu Kae, USA, 2020, 11 min, digital)

 A poetic meditation on familial loss and separation, and the love that endures against dispersion.

 10:28,30 (Paige Taul, USA, 2019, 5 min, digital)

As a part of the larger constellations of works concerning familial relationships, 10:28,30 examines the relationship between myself and my sister, and our relationship to our mother. I am interested in the dissonance of our lives apart and the tension in the desire to be together.

An Ecstatic Experience (Ja‘Tovia Gary, USA, 2015, 7 min, digital)

 A meditative invocation on transcendence as a means of restoration.

For Our Girls (Michèle Stephenson and Imani Dennison, USA, 2020, 10 min, digital)

The film is a love letter to Black daughters—acknowledging the sacred, and at times, tense relationship mothers and daughters share as they face challenges and accept each other’s flaws.

$75,000 (Moïse Togo, France, 2020, 14 min, digital)

A look at the biological aspect of albinism, which is a genetic and hereditary condition that affects not only the pigmentation of sufferers but also, and above all, their physical and mental health. These people are victims of discrimination, mutilation, and ritual crimes in Africa.

What’s good Bruce? (Paige Taul, USA, 2018, 4 min, digital)

A reference to Bruce Nauman’s Walking in an Exaggerated Manner Around the Perimeter of a Square (1967) in order to question whose body and whose body language is allowed in the studio space. Instead of mimicking the way Nauman walks, Peter uses the pimp walk (sans cane).

Standing at the Scratching Line (Julie Dash, USA, 2016, 11 min, digital)

Traveling between Mother Emanuel AME in Charleston, South Carolina, to Mother Bethel AME in Philadelphia, Julie Dash creates a cinematic tone poem about returning to sacred spaces of departure and arrival.

BLACK TO TECHNO (Jenn Nkiru, United Kingdom, 2019, 21 min, digital)

 BLACK TO TECHNO is a music documentary charting the anthropological, socio-economical, geopolitical roots of techno from Detroit and how it traveled and translated into becoming the soundtrack to fall of the wall in Berlin.


 

 

New Black Wave, Vol. 2: Upcoming Showtimes