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For all their differences, the films of Evan Mather and David Lowery are, in some respects, very similar. Specifically, they are the films of artists who are similarly concerned with the intricacies of place, memory, nostalgia, imagination, and the physical processes of filmmaking itself. Mather and Lowery are filmmakers who, like children with scissors and glue, ‘hand-make’ their films; who use their films to remember their pasts, or to rewrite them; and who imbue place – be it Baton Rouge in Mather’s Scenic Highway, Las Vegas in Fansom the Lizard, or Texas in Lowery’s work more generally – with a loaded emotional resonance tied, inexorably, to childhood, adolescence, and to events further back in the collective memory of our culture. The will be the first time either filmmakers’ work has screened in Australia.
Program 1: 9pm Mon 24 Sept TOFF.
The Hand-Made Films of Evan Mather
Program Running Time: 110’ approx.
Evan Mather is an independent filmmaker and animator based in Los Angeles. His eclectic body of work has screened at the Sundance Film Festival, South by Southwest, the International Film Festival Rotterdam, Seoul Net Festival, and the One Reel Film Festival, as well as profiled in RES, Sight & Sound, Wired, Newsweek, Senses of Cinema, and The New York Times. He has been a guest lecturer at UCLA and MIT and the subject of a retrospective at the Seattle Art Museum.
Mather first came to prominence in 1997, after series of short animations starring Kenner Star Wars action figures came to the attention of the webmaster of a Star Wars fan site and, eventually, were featured by the then-booming AtomFilms.com. The body of work that has developed since has taken the same lo-fi aesthetic, hand-made charm, and irreverent willingness to re-write pop culture and made them the basis of an ongoing inquiry into the nature of truth, memory, nostalgia, history, autobiography and, ultimately, cinema.
http://www.evanmather.com/
http://www.sensesofcinema.com/contents/05/35/evan_mather.html
Quentin Tarantino’s Star Wars
(3’20 / 1998 / DV / USA)
Vert (14’45 / 1999 / DV / USA)
Les Pantless menace
(3’50 / 1999 / DV / USA)
Buena Vista Fight Club
(1’50 / 2000 / DV / USA)
Fansom the Lizard
(9’22 / 2000 / DV / USA)
Airplane Glue (12’25 / 2001 / DV / USA)
Red Vines (3’50 / 2001 / DV / USA)
Icarus of Pittsburgh
(10’2 / 2002 / DV / USA/Finland)
Revert (3’29 / 2002 / DV / USA)
Bodybags (10’54 / 2003 / DV / USA)
Clowntime is Over
(6’22 / 2003 / DV / USA)
A Fool’s Errand (5’ / 2004 / DV / USA)
My Big Fat Independent Movie (Opening Sequence) (2’30 / 2004 / DV / USA)
The Image of the City
(6’23 / 2006 / DV / USA)
Scenic Highway
(17’ / 2006 / Super 8/DV / USA)
Program 2: 7pm Tues 25 Sept Revolver.
The Home-Grown Films of David Lowery
Program Running Time: 75’30 approx.
David Lowery is Texas-based filmmaker whose work has been seen in festivals around the world, as part of the Berlinale Talent campus, on IFC and PBS, and through his website.
Lowery’s work belongs at once to both the tradition of the European art film, with its echoes of Bresson in particular, and to that of various American independents, such as Cassavetes, Linklater, Bujalski and others. More recently, however, with his increasingly avant-garde approach to narrative and image-making, other influences have become apparent in the work, most notably that of video artist Matthew Barney, whose impact is most keenly felt in Lowery’s finest work to date, A Catalog of Anticipations.
http://www.road-dog-productions.com/
Land Of Nod (3’21 / 2006 / DV / USA)
Still (20’ / 2003 / 16mm / USA)
Looking For Love (3’ / 2003 / DV / USA)
48 Ribs (9’52 / 2005 / DV/ USA)
A Delineation (2’59 / 2005 / DV / USA)
Unfinished Animated Project
(1’40 / 2005 / DV/stills / USA)
Some Analog Lines
(6’34 / 2006 / DV / USA)
The Outlaw Son
(10’55 / 2006 / 16mm / USA)
It’s A Secret (4’18 / 2007 / HD / USA)
A Catalog of Anticipations
(11’55 / 2007 / HD/DV/stills / USA)
