Death and Dying

1984
Las 3 Muertes de Lupe (The 3 Deaths of Lupe)

"In this antiqued period piece, the morbid star, Lupe Velez, travels to Hollywood, Guanajuato, and Barcelona, seeking her own death."

—Berkeley Art Museum, Pacific Film Archives, April 1998

This title is also available on Half-Lies: The Videoworks of Ximena Cuevas.

2000
41 Shots

19 out of the 41 shots fired in 10-seconds by four members of the NYPD Street Crimes Unit hit the defenseless body of one Amadou Diallo as he stood in the vestibule of the building where he lived in the Bronx. This video essay seizes on the grotesquely bald, factual precision of this numerical data, proceeding remorselessly on up from number 1 to 41, rubber-banding 10-seconds into fourteen minutes, and then snapping it tight, in an intense, formal contemplation of how police violence is produced and then addressed by other forces on the city streets.

2009
753 McPherson Street

753 McPherson Street employs both original and found footage to represent a very old, passionate, and sometimes lucrative business–a funeral home, in Mansfield, Ohio. The title refers to its street location situated in Everson’s childhood environs.

Cast: DeCarrio Couley.

This title is only availalbe on Broad Daylight and Other Times: Selected Works of Kevin Jerome Everson.

2002
9 Is A Secret

"Renwick recounts a sad time in her life, when a friend was dying and she suddenly became aware of the presence of crows... (Renwick) craft(s) a lyrical and moving essay that works its magic through poetic accretion rather than narrative logic."

--Holly Willis, L.A. Weekly

This title is only available on CHANNELING: an invocation of spectral bodies and queer spirits.

2004
HalfLifers, Afterlifers: Walking and Talking

The HalfLifers exhume cinema’s favorite incarnation of mindless, decaying mortality, the Zombie, in the hopes of breathing new life into this misunderstood figure. From a panel discussion in an old TV studio to a quarantined helicopter high above California’s rolling hills, these life-challenged entities walk, talk, and chew over some of the more difficult questions of this “whole linear birth-death system."

This title is also available on HalfLifers: The Complete History.

2010
Agonal Phase, The

In the aftermath of a death things may seem very quiet, but there are struggles going on so deep not even those who struggle can recognize them.  This film looks and listens for signs of those struggles.  Psychoanalytic interjections consider the nature of time and rumination, and are used to step outside of the terribly interiorized state of mourning.

-- Jennifer Montgomery

2008
Annie Lloyd

Annie Lloyd is a daughter's poetic documentation of the last few years of her mother's life and an intimate portrayal of the creativity and wisdom of old age.

2000
Apple Grown in Wind Tunnel

This absurdist, microscopic film noir follows the activities of an underground network of ill people, desperate to create alternative methods of self-care in a world where natural resources are disappearing. While examining the meaning of health, disease, and well-being in the post-industrial world, Apple Grown In Wind Tunnel imagines the development of a culture at the margins, linked by illicit radio broadcasts, toxic waste sites, the highway, and ultimately by the overwhelming desire to find a cure.

2005
Ask the Insects

Nine micro-essays on animation and death--with many appearances including Goethe, Pink Floyd and Bambi--leads to a final encounter and introduction.

1998
Benares

"In 1997 I went to Benares, India to study the Hindu practice of burning the bodies of their dead on the Ganges ghats. My purpose was:

1. To become more at ease with death, a hidden western phenomenon;

2. To de-fuse fear around seeing death;

3. To watch how Hindu elders congregate in Benares to die since dying here in this holy city guarantees "moksha", no rebirth. Visiting temples and ashrams for the elderly allowed me to observe how they use their time and prepare for their eventual passing.

CB
2011
CB

CB is an experimental bio-pic: its heroine, Charlotte Brontë. A collaboration between Doug Ischar and Tom Daws, CB was commissioned by the Laumeier Museum, St. Louis, for their inaugural Nightlight series.

2008
CHANNELING: an invocation of spectral bodies and queer spirits

CHANNELING is an entryway into the spirit realm and the queer body politic: a program of experimental moving image work that calls up the ghosts of the past and the specters of the future. The intent of the program is to re-imagine film and video as occult technologies that allow us to connect with the bodies, experiences, and emotions that are often invisible--ghostly even--in everyday life.

2002
The Chocolate Factory

The Chocolate Factory is a suite of monologues in the voice of a fictionalized serial killer, one monologue for each victim. The camera, with an almost structuralist rigor, pans up and down simple line drawings of each of the seventeen victims. A Black Sabbath song, picked apart and extended, serves as punctuation and soundtrack. Reinke has described the video as, "My autobiography as Jeffrey Dahmer."  But really, as the narrator says, "It's all about the victims."

2010
come lontano (How Very Far)

come lontano is a perverse historical romance in which two lives are exposed, inter-mixed, doused with sentiment, and--hopefully--redeemed. The work revolves around a central ‘couple’--Pier Paolo Pasolini and Maria Callas. There is a third main character, an ambiguous villain made of steel, glass and rubber. Each member of our central couple has her/his own external distractions which impinge--to varying degrees--on their brief, ecstatic encounter. This encounter was in fact a cinematic collaboration; it’s product the film Medea (1969).

2009
Cecelia Condit: An Interview

In this interview American filmmaker, poet, and lyricist, Cecelia Condit gives shape to the contours of her work process. The artist describes the influence of her relationship with her mother, her long-term investment in the macabre, and her ongoing desire to confront death through art. While covering a broad range of topics, Condit’s discussion of her work and interests returns to several defining themes: aging, grotesqueness, and the notion of movement, both in terms of her own past as a dancer and the notion of the body in decay. With a particular emphasis on the production and context of her videos, Annie Lloyd (2008), and All About a Girl (2004), this interview offers insight into the artist’s fascination with aging, sweetness, and storytelling, while also articulating her joyful sense of discovery within the art-making process. No longer working with scripts, Condit presents herself in the interview as a scavenger–much like the crows she incorporates into her work–assembling videos which straddle the line between strange and silly. – Faye Gleisser