GME News
This past month saw the work of several filmmakers distributed by GME programmed in venues in the U.S. and abroad. It is a reminder of both the durability of these artists and their works and the ongoing interest in the kinds of notable independent and experimental moving image work that GME strives to provide to our buyers.
Read MoreVideo is everywhere today—on our phones and screens, defining new spaces and experiences, spreading memes, lies, fervor, and power. Shared, sent, and networked, it shapes public opinion and creates new publics. In other words, video has transformed the world. Bringing together a diverse range of work from the past six decades, Signals reveals the ways in which artists have posed video as an agent of global change—from televised revolution to electronic democracy.
Read MoreA father films his daughter every year on her birthday, asking the same questions. In a mere 29 minutes we see a girl go from a toddler to a young woman with all the beautiful and awkward stages in between while the father/daughter relationship evolves in all its complexities.
Read MoreBeginning in 1968, with The TUXEDO THEATRE, Sonbert began traveling the world and created tightly edited, silent montage films. He became known as the leading proponent of polyvalent montage, in which, according to Sonbert, his films were “not strictly involved with plot or morality but rather the language of film as regards time, composition, cutting, light, distance, extension of backgrounds to foregrounds, what you see and what you don’t, a jig-saw puzzle of postcards to produce various displace effects.”
Read MoreExamining family history and turmoil has fueled much of the greatest work of Philippe Garrel (REGULAR LOVERS, THE SALT OF TEARS), whose new film pays tribute to his late father (and regular cast member) Maurice’s background as a puppeteer. Simon (Aurélien Recoing), the head of a puppet troupe, works alongside his children, all played by Philippe’s actual children: son Louis (Louis Garrel) and daughters Martha (Esther Garrel) and Lena (Lena Garrel, making an auspicious first appearance in the Garrel family filmography).
Read MoreThis past month saw the work of several filmmakers distributed by GME programmed in venues in the U.S. and abroad. It is a reminder of both the durability of these artists and their works and the ongoing interest in the kinds of notable independent and experimental moving image work that GME strives to provide to our buyers.
Read MoreWith her boundary-pushing, de-glamorized, stripped-down approach to modern dance, Rainer was already established as one of the most innovative forces in choreography before she’d started to make her first standalone films in 1972, bringing the same spirit of invention to this new medium.
Read MoreLuke Fowler’s BEING IN A PLACE: A PORTRAIT OF MARGARET TAIT (2022) will screen with Tait’s 1998 GARDEN PIECES in MoMA’s Doc Fortnight 2023 Festival of International Nonfiction Film and Media on 2/24. At Light Industry on 2/25, Fowler will introduce Henri Plaat’s FASHION FROM NEW YORK (1980) and John McGreevy’s R.D. LAING’S GLASGOW (1979).
Read MoreFearlessly innovative and playfully prophetic, Nam June Paik comes to life in Amanda Kim’s feature debut through a skillful assembly of interviews and archival footage that portrays the father of video art both in his time and through his far-reaching legacy.
Read MoreSince 1968 Dominic Angerame has produced more than 30 films on 16mm and several newer works in digital format. Some of these films have never had a public screening. Many of Angerame’s films show San Francisco, the city he has lived and worked in since 1979, and its varying cityscape as it looks and changes over time.
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