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DTSTART;TZID=America/Los_Angeles:20260904T190000
DTEND;TZID=America/Los_Angeles:20260905T190000
DTSTAMP:20260826T132238
CREATED:20260820T230403Z
LAST-MODIFIED:20260825T011820Z
UID:10242-1788548400-1788634800@www.h-r.la
SUMMARY:Barbara Hammer\, two-night survey(1974-2011)
DESCRIPTION:Tickets \n\n\n\nBarbara Hammer\, Two-Night Survey \n\n\n\n“the filmmaker who almost single handedly defined lesbian cinema.”  – So Mayer for BFI \n\n\n\nFriday\, Sept 4\, 7pm (1974–1976): Menses\, Dyketactics\, Superdyke\, Women I Love \n\n\n\nSaturday\, Sept 5\, 7 pm (1978–2011): Double Strength\, Sync Touch\, No No Nooky T.V.\, Maya Deren’s Sink \n\n\n\nBarbara Hammer picked up a camera in the early 1970s because the lesbian life she was living didn’t exist anywhere on screen\, and spent the next four decades making sure it did.  \n\n\n\nNight one moves through her raw\, hand-processed early work\, made outside the visual language men had built for looking at women’s bodies; Dyketactics\, widely considered one of the first lesbian films\, remains the clearest statement of that refusal. Night two turns to Hammer’s later\, more formally rigorous experiments\, films like Sync Touch and No No Nooky T.V. that trade urgency for a deeper interrogation of touch\, sound\, and structure\, tracking how an artist who began by simply insisting on visibility grew into one of experimental film’s most restless technical innovators. \n\n\n\n“Her prolific body of work\, produced over five decades\, is one that significantly shaped queer art history. Her radical aesthetics articulated new forms of lesbian identity\, community\, and sexuality\, amidst the prevalent heteronormative (and almost exclusively male) gaze and narrative forms… The quest for visibility was fundamental to Hammer’s œuvre at a time when gay women artists had few if any points of reference.”— Ada Maria Hennel\, “Barbara Hammer (1939–2019): Texte zur Kunst\, April 10\, 2019 \n\n\n\nFriday\, September 4th\, 7pm\, 1974–1976 \n\n\n\n\n\n\n\nDyktactics(1974) \n\n\n\n\n\n\n\nSuperdyke(1975) \n\n\n\n\n\n\n\nWomen I Love(1976) \n\n\n\n\n\n\n\nMenses(1974) \n\n\n\n~ \n\n\n\nSaturday\, September 5th\, 7 pm\, 1978–2011 \n\n\n\n\n\n\n\nDouble Strength(1978) \n\n\n\n\n\n\n\nMaya Deren’s Sink(2011) \n\n\n\n\n\n\n\nNo No Nooky T.V.(1987) \n\n\n\n\n\n\n\nSync Touch \n\n\n\n \n\n\n\nCourtesy of Electronic Arts Intermix
URL:https://www.h-r.la/event/barbara-hammer-a-two-night-survey/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260904T210000
DTEND;TZID=America/Los_Angeles:20260904T223000
DTSTAMP:20260826T132238
CREATED:20260729T010143Z
LAST-MODIFIED:20260803T230637Z
UID:9868-1788555600-1788561000@www.h-r.la
SUMMARY:Kamikaze Hearts
DESCRIPTION:Tickets \n\n\n\nKamikaze Hearts (alternately titled Fact or Fiction) is a 1986 American quasi-documentary directed by Juliet Bashore and written by Bashore and Tigr Mennett. Presented by Seedy Dykes. \n\n\n\nAlternately distressing\, instructive\, contestable\, and fascinating\, Juliet Bashore’s quasi-documentary plunge into the 1980s porn industry takes an unsparing look at issues of misogyny\, drug abuse\, and exploitation via the story of two women—the naive newcomer Tigr and her partner\, the magnetic\, imperious porn veteran Sharon Mitchell — caught in a toxic romance. By turns mesmerizing and unsettling\, KAMIKAZE HEARTS is both a fascinating record of pre-gentrification San Francisco’s X-rated underground and an intense\, searing love story. The film offers a disturbing glimpse of the modification of bodies\, feelings\, and lives.
URL:https://www.h-r.la/event/kamikazie-hearts/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260905T150000
DTEND;TZID=America/Los_Angeles:20260905T170000
DTSTAMP:20260826T132238
CREATED:20260821T012213Z
LAST-MODIFIED:20260824T173530Z
UID:10268-1788620400-1788627600@www.h-r.la
SUMMARY:Tim Feeney's Dowsing
DESCRIPTION:tickets \n\n\n\nTen repetitive sonic interventions within the eroded landscapes of the Burren\, County Clare\, Ireland. \n\n\n\nThese occur at sites of local “anti-monuments:” a kilometers-long\, natural limestone pavement high above Galway Bay; stone farm walls and remnants of circular structures on hillsides; cairns near a shoreline; a field of glacial boulders interrupted by a road smashed from the surrounding stone formations\, in forced public work by the starving during the Great Hunger of 1845 to 1852. These structures speak to both the passage of geologic time\, and the care and efforts of human survival beginning in the Neolithic period and tended through the present\, though local history at each site may be lost\, or unrecorded. \n\n\n\nThese are introduced in title cards in English\, italicized as a term in a language foreign to the observer\, and in Irish in plain font\, as in an observer’s native language.  \n\n\n\nFrom one perspective\, a sonic divining or physical research into the properties of land\, space\, light\, and time in these locations; from another\, an attempt as an “Irish-American” to reckon with language\, archaeology\, and history felt as formative but inarticulable without lived context. \n\n\n\nAfter a point\, you can only ask the stone so many questions\, and sometimes you can only hear your own voice in response.  \n\n\n\n\n\n\n\nTim Feeney makes sounds and images in and for forests and waterfronts\, investigating unstable sound and duration. His recent sound and video work has been presented in festivals and residencies at the Contemporary Art Center New Orleans; the Ringling Museum of Art in Sarasota\, Florida; the Burren College of Art\, Newtown Castle\, Ireland; the Denver Underground Film Festival; Festival International Musique Actuelle Victoriaville; Roma Short Film Festival; CICA Museum\, South Korea; Fonderie Darling\, Montreal; Sonorities Festival\, Belfast; Revolutions per Minute\, Boston; Millennium Film Workshop\, new York; and the Los Angeles Center for Digital Art. \n\n\n\nAs a musician\, he appears in bookstores and basements with Sarah Hennies and Greg Stuart as the trio Meridian; in galleries and libraries with Vic Rawlings and Annie Lewandowski; in tunnels and train stops with Cody Putman and Cassia Streb; in colleges and museums with Andrew Raffo Dewar\, Holland Hopson\, and Jane Cassidy; and in occasional festivals and concert halls with Anthony Braxton\, Ingrid Laubrock\, and the Partch Ensemble.  \n\n\n\nHe is a faculty member at the California Institute of the Arts. \n\n\n\nhttps://www.timfeeney.com \n\n\n\nIG @theothertimfeeney
URL:https://www.h-r.la/event/tim-feeneys-dowsing/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260905T210000
DTEND;TZID=America/Los_Angeles:20260905T223000
DTSTAMP:20260826T132238
CREATED:20260805T195058Z
LAST-MODIFIED:20260806T051359Z
UID:9977-1788642000-1788647400@www.h-r.la
SUMMARY:Guadalupe Arellanes’ Dream Series
DESCRIPTION:Tickets \n\n\n\nA selection of works from Guadalupe Arellanes’ dream series\, exploring the subconscious through cinema\, gathering films that translate sleep\, memory\, existential dread\, and altered states into visual poetry\, performance\, and ritual. Featuring Repertoire of Death\, Tides of Time\, I dream of snakes (WIP) and other works by Guadalupe Arellanes. The presentation will culminate with a live filming session where audience members will be invited to participate in a scene towards the completion of I dream of snakes. \n\n\n\nGuadalupe Arellanes is a visual artist\, performer\, filmmaker\, and scholar based in Los Angeles\, California. Her work investigates the poetics of place and the lingering textures of hauntings using surrealist techniques\, nonlinear temporalities\, repetitive motifs\, and dream logic. Her films have been featured in programs by the LEIMAY Foundation\, Boston Cyberarts\, Beyond Baroque\, The Film-Makers’ Cooperative\, the American Cinematheque\, and more. In 2025\, she was a contributing artist and scholar at the Philosophical Research Society.
URL:https://www.h-r.la/event/guadalupe-arellanes-dream-series/
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DTSTART;TZID=America/Los_Angeles:20260912T190000
DTEND;TZID=America/Los_Angeles:20260912T210000
DTSTAMP:20260826T132238
CREATED:20260819T015412Z
LAST-MODIFIED:20260821T182602Z
UID:10224-1789239600-1789246800@www.h-r.la
SUMMARY:Homotopia & Criminal Queers
DESCRIPTION:20th anniversary screening of Homotopia (2006) with its sequel Criminal Queers (2015) directed by Eric A. Stanley & Chris E. Vargas \n\n\n\nPost-screening discussion with the directors and Silky Shah\, author of Unbuild Walls: Why Immigrant Justice Needs Abolition (2024). \n\n\n\nSet sometime in the future-present Homotopia (2006) chronicles a group of radical queer’s dedicated to exposing the trouble with gay marriage\, dismantling the State\, undoing Empire\, while looking totally fierce. Woven into the story of Yoshi’s adventures in love\, resistance\, and sex\, is a critique of the crushing violence of homonormativity and its deadly perpetuation of US patriotism\, conservative kinship structures and affective accumulation. Homotopia holds cinematic assumptions hostage through its motley assemblage of never-passing crew. Race\, gender\, ability and desire are reworked through an anti-colonial take of queer struggle creating a visual rhythm of melancholic utopianism that knows there may be no future but still hopes today is not their last. Love revolution\, not State delusion\, Homotopia.  \n\n\n\nCriminal Queers (2015) visualizes a radical trans/queer struggle against the prison industrial complex and toward a world without walls. Remembering that prison breaks are both a theoretical and material practice of freedom\, this film imagines what spaces might be opened up if crowbars\, wigs\, and metal files become tools for transformation. The film advances a vision of our collective liberation by abolishing the structures and systems that confine our hearts\, genders\, and desires. Follow Yoshi\, Joy\, Susan\, and Lucy as they fiercely discuss everything from the Human Rights Campaign and hate crimes legislation to the non-profitization of social movements. Criminal Queers grows our collective liberation by working to abolish the multiple ways our hearts\, genders\, and desires are confined.
URL:https://www.h-r.la/event/criminal-queers-2006-homotopia-2015/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260921T193000
DTEND;TZID=America/Los_Angeles:20260921T210000
DTSTAMP:20260826T132238
CREATED:20260825T230031Z
LAST-MODIFIED:20260826T171907Z
UID:10301-1790019000-1790024400@www.h-r.la
SUMMARY:Kouté Vwa
DESCRIPTION:Tickets \n\n\n\nKouté vwa (Listen to the Voices) \n\n\n\nDirected by Maxime Jean-Baptiste \n\n\n\n2024\, HD\, color\, sound\, 76 minutes \n\n\n\nLos Angeles Premiere\, Co-presented by Los Angeles Filmforum \n\n\n\nAn elegy\, but also a celebration\, Kouté vwa (Listen to the Voices) portrays a family and a community as they experience grief\, joy\, and reconciliation in the wake of tragedy. \n\n\n\nMelrick\, a 13-year-old boy\, spends his summer vacation with his grandmother Nicole in Cayenne\, French Guiana. His presence and his desire to learn how to play the drums brings back the memory of Nicole’s son and Melrick’s uncle\, Lucas. Also a musician\, Lucas died in tragic circumstances 11 years earlier. Faced with the grief that haunts his family and Lucas’s best friend’s desire for revenge\, Melrick seeks his own path to forgiveness. \n\n\n\n“With a subtle blending of documentary and fiction\, this beautiful and delicate film also reflects on inherited violence and grief\, not just on the familial level but on a historical and colonial one.” –Wexner Center for the Arts \n\n\n\n“Kouté vwa is a celebration of holding onto what is\, while mourning what has been lost. Through this intergenerational relationship stories of community\, unbridled youth\, friendship and reconstruction come to life. Within the mundane of the day-to-day lives joy and a fierce hope.” – Lesedi Oluko Moche \n\n\n\n“[The film’s title] succinctly sums up its poetic program: a polyphony of entangled testimony. Drawing on the deeply personal source of the story\, the film summons these various voices and opens up a resonance chamber between them. “ –Pierre Jendrysiak and Leonard Krähmer\, Variety
URL:https://www.h-r.la/event/koute-vwa/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260925T210000
DTEND;TZID=America/Los_Angeles:20260925T223000
DTSTAMP:20260826T132238
CREATED:20260730T223721Z
LAST-MODIFIED:20260731T014957Z
UID:9916-1790370000-1790375400@www.h-r.la
SUMMARY:BY HOOK OR BY CROOK
DESCRIPTION:Tickets \n\n\n\nGroundbreaking when it was released in 2001 and still fiercely innovative today\, BY HOOK OR BY CROOK is a trans and butch buddy film that chronicles three weeks in the life of Shy\, a handsome\, gender-bending\, small town dreamer with a nagging messiah complex\, and Valentine\, a deliriously expressive\, wise-acre adoptee on a misguided search for her birth mother. The two freaky grifters join forces and learn the true meaning of “poise under pressure” in this visually stunning and wonderfully acted\, anti-authoritarian tale of friendship\, trust and redemption. \n\n\n\n \n\n\n\nDirected and written by acclaimed artist Harry Dodge and filmmaker Silas Howard\, the film is produced by Steak House\, Howard\, and Dodge. It features cinematography by Ann T. Rossetti (Go Fish)\, editing by Dodge\, and an ensemble cast including Howard\, Dodge\, Stanya Kahn\, Carina Gia\, and Joan Jett.
URL:https://www.h-r.la/event/by-hook-or-by-crook/
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