Social & External
Kike
Mónica
A slug climbs small mountains at the peak of Mount Greylock (3,489 ft).
Sunlight in a winter forest.
A close look at flowers and pollinators on a sunny summer morning.
Clouds forming and moving through the summer sky.
In the early 1900s commercial loggers cut down an old growth spruce tree growing on a small island surrounded by tide pools on the coast of Maine. Out of the trunk of this ancient tree grew two new trees, side by side.
Mountain wildflowers in a dense fog.
A short film featuring a coastal forest and the rocky coastline of downeast Maine.
A short film featuring a pebble beach and coastal salt marsh in Maine.
A golden sunrise brings light to the foggy hills and meadows of late summer.
A study of the seashore in mid-coast Maine.
Porcupine evokes the fragmented tale of a young man who breaks into an empty hospital to set up his online broadcast of poses and provocations; his audience includes real-life participants with anonymous tags like ‘bigballnz’ and ‘romeoazteca’.
The director offers a rare glimpse of the actor and fashion muse Chloë Sevigny in the late 90s when she as an emerging ingénue. Shot on 16mm black and white, Sevigny plays air guitar and dress-up in a film that beautifully captures the spirit of the time.
A solitary man struggles to cultivate beauty in a desolate urban world. Lonely and dislocated, he drifts in and out of a dream state envisioning the promise of regeneration. ROSEWATER tells a story of hope sustained through perseverance, ritual and, ultimately, revelation.
HOW BRIEF is a disappearing act set over the course of one night in 1962 when a restless woman returns to her childhood home for the last time, inspired by the music of singer-songwriter Connie Converse.
A short film shot on 16mm about memory, grieving, and siblinghood.
A compilation of non-narrative, mischievous, fictional tableaux vivants featuring two young women on a dreamlike, summer-like quest for self-discovery, written in the glittery language of music videos, fashion shoots, and meandering streams of consciousness, set to a nostalgic mood track that evokes universal, bittersweet sentiments.
One night in the basement of a drag bar, rehearsals are underway for the evening's show; queens Kim and Ava face the pressures of change when Oli, the bar owner, replaces their colleague for a younger queen. Meanwhile upstairs in the bar, young couple Jack and Nora try to salvage their relationship despite their secrets; and not too far away, washed-up actor Robert Lamore catches up with his agent in the hopes of a comeback. Despite their disparate nature, each story comes together through the shared pressures of performance, pride, and second chances.
A young woman uses a strange telephone service to leave messages for her departed brother.
A man and a woman in Lagos want to escape their everyday lives, but extricating themselves is no easy task. Two stories narrated with tenderness and restraint that only fleetingly touch, the dream of migrating to Europe floating above them all the while.
"In the final format for MAGELLAN, Frampton had planned to disassemble these two films into twenty-four 'encounters with death' that were to be shown in five-minute segments twice a month. In their present state, seen together and roughly the length of an average feature film, the two parts of MAGELLAN: AT THE GATES OF DEATH constitute perhaps the most gripping, monumental, and wrenching work ever executed on film...Frampton in 1971 began his filming of cedavers at the Gross Anatomy Lab at the University of Pittsburgh. He returned to the lab four times over the course of the next two years and then spent nine months assembling his 'forbidden imagery' into an extraordinary meditation upon death."–Bruce Jenkins
