Tone Glow is excited to present “Eyes On the Road,” a film screening highlighting four structuralist, road-movie masterworks. The event will take place on Tuesday, April 21st at Chicago Filmmakers. This is a rescheduling of a previously cancelled event.

James Benning & Bette Gordon’s THE UNITED STATES OF AMERICA (1975) finds the two directors trekking from New York to Los Angeles, capturing the trip with a camera mounted to the back of their car. As we see America through a windshield, the radio plays pop songs and news broadcasts, painting a contemplative and expansive portrait of the country during its bicentennial. The film will be presented digitally via a 2K restoration completed last year.

Thom Andersen’s GET OUT OF THE CAR (2010) is a self-proclaimed “city symphony” of Los Angeles, with stationary shots of billboards, buildings, and murals in varying states of disarray. Describing the work as one of “militant nostalgia,” Andersen memorializes the past but forces consideration of why these signs and structures become neglected and will no longer exist in the future. “What are you doing,” someone asks in the film. “We’re just trying to document what’s left.” The film will be shown on a 16mm print courtesy of Canyon Cinema.

There are two new films added for this screening: James Benning’s CHICAGO LOOP (1976) and 9/1/75 (1975). Both films have never been digitized, are rarely screened, and will be shown on 16mm prints courtesy of The Film-Makers’ Cooperative.

Tickets can be purchased here. Special thanks to Chicago Filmmakers, Canyon Cinema, The Film-Makers’ Cooperative, James Benning, Dylan Lustrin, Thom Andersen, and Ben Creech.

“Eyes on the Road” Program:

1. James Benning & Bette Gordon, The United States of America (1975, color, sound, 27 mins; 2K restoration, DCP)

2. James Benning, Chicago Loop (1976, color, sound, 9 mins; 16mm)

3. James Benning, 9/1/75 (1975, color, sound, 22 mins; 16mm)

4. Thom Andersen, Get Out of the Car (2010, color, sound, 35 mins; 16mm)

TRT = 93 mins

Tone Glow is excited to co-present a special screening of Charlotte Zhang’s Tycoon (2026), one of the most thrilling films of the year. The event will take place this Saturday, April 11th at 8PM at Chicago Filmmakers. This screening is part of the annual Onion City Experimental Film Festival, one of the premier international festivals exclusively devoted to experimental film and video. Zhang will be in attendance for a post-screening Q&A led by Joshua Minsoo Kim. Tycoon will be preceded by Keng U Lao’s short film Dirty Eye (2025), a journey through the illusionistic city of Macau—the Las Vegas of the East—blurred by sleights of hand. Tickets can be purchased here.

Zhang is a Canadian artist and filmmaker based in Los Angeles. Her debut feature film Tycoon (2026) is a tremendous low-budget imagining of dystopian Los Angeles. Set shortly before the 2028 Olympics, the film follows two twenty-somethings—Lito (Miguel Padilla-Juarez) and Jay (Jon Lawrence Reyes)—over a loosely-plotted 90 minutes that freely move between different registers and textures. Shot on her iPhone, MiniDV, and Super 8—and incorporating Xeroxed photographs as well as props she made herself—Zhang captures the beauty and grotesqueries, humor and banalities present in Los Angeles and its people.

Tycoon draws from Zhang’s research into the 1992 Los Angeles uprising, and considers the throughlines that both connect and shape historical events past, present, and future. Inspired in part by Charles Burnett’s Killer of Sheep (1978), Tsai Ming-liang’s The Hole (1998), and Isiah Medina’s 88:88 (2015), Tycoon was one of the major highlights at this year’s International Film Festival Rotterdam. In her interview with Tone Glow, Zhang explained that she approached editing from a musical perspective:

I’m wondering how a leitmotif moves between hands, between keys, and what it means to have a theme and variations, and what happens when a theme returns further in the song, in a different context, and what has been changed as a result of what has occurred beforehand. So there’s a lot of things I’m thinking about, like, “Oh, this is a passage I have to play staccato, how do I translate that to film?” […]

In Tycoon, there are a lot of motifs that appear as sound, image, and text, and then there’s voiceover that travels through it, and I’m thinking of musical themes that play throughout different symphonic voices. It’s similar to collage, where you’re thinking about combinations that feel explosive and exciting, and once you place them, you’re thinking about how they should be melded together musically.

Zhang also listed different albums that influenced her editing process for Tycoon, including Sly and the Family Stone’s There’s a Riot Going On (1971), Shawty Pimp & MC Spade’s Volume 1 (1994), and Olivier Messiaen’s Quartet For the End of Time (1940-1941).

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Read the Interview

“The decline of culture in musical terms—if you will excuse a bit of my own historicism—is the devolution from polyphony to monophony.” —Igor Stravinsky

Tone Glow, Cinema Guild, and e-flux are excited to present “Georgian Polyphonics,” a screening of Soso Chkhaidze’s Old Georgian Hymns (1970) and Otar Iosseliani’s Ancient Georgian Songs (1969), followed by a performance from Georgian composer Giorgi Koberidze, who most recently performed the soundtracked for his brother Alexandre Koberidze’s film Dry Leaf (2025). Last year, Giorgi also released the album Forests, Tales, Cities, Forests (2025). Join us at e-flux Screening Room on Saturday March 21 at 3pm. Tickets can be found here.

Georgian polyphonic song is one of the longest-tenured musical traditions across human history, with scholars placing its origin before the arrival of Christianity in Georgia in the 4th century CE. The practice consists of 15 regional choral variations, each made up of their own chemistry of staggered melodies, interlocking vocal threads, and folklore. Its lineage today travels even in a bottle launched “into the cosmic ocean,” with the chant Chakrulo having been included as one of the Voyager space craft’s 29 representative musical compositions selected for the contingency of extraterrestrial contact.

Electronic and classical composer Giorgi Koberidze experiments with an eclectic palimpsest of Georgian polyphony and Caucasian instrumentation, painting tradition over with modernity and vice-versa. This program mirrors that aim by pairing the performance with two films that delve into the tradition’s history.

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Films

Soso Chkhaidze, Old Georgian Hymns (1970, 31 minutes)

Working with the Georgian polyphonic ensemble Rustavi and composer Anzor Erkomaishvili to resurrect the countryside’s derelict monasteries, Chkhaidze films eroded structures and faded biblical paintings caressed by sunlight, evoking the ambivalence of a besieged culture despite Georgia’s extant link to antiquity. Building on themes from his earlier work, Kolkhida—where Chkhaidze assigns the famed national myth of Jason’s quest to find the Golden Fleece in Colchis a negligible value in proportion to the land’s permanence—Chkhaidze here examines and historicizes Georgia’s identity as one of the earliest adopters of Christianity.

Otar Iosseliani, Ancient Georgian Songs (1969, 21 minutes)

Under the premise of documenting for the sake of preservation the various forms of Georgian religious chanting, a distinct kind of sonorous psalmody passed over from generation to generation, Otar Iosseliani captures a snapshot of a not-so-distant past that coexists with the world we might know yet transports us to what it used to be.

Artists

Giorgi Koberidze is an electronic and classical music composer from Georgia. He currently serves as a professor of music at Tbilisi State Conservatoire, and Ilia State University. Giorgi's work is rooted in the Georgian musical tradition, cross-pollinating indigenous instrumentation with electronic and western classical timbres. He recently won first prize in the Tbilisi Conservatoire Composers Awards, and received Georgia's most prestigious cultural gong, the Tsinandali Award. His music can be found at Bandcamp here and here.

Otar Iosseliani (1934-2023) was born in Tbilisi. Admired by Andrei Tarkovsky, he studied music and math before taking a directing course in 1955 taught by Alexander Dovzhenko at the Moscow National Institute of Cinematography (VGIK). His thesis film, April (1962) was banned by Soviet censors for its depiction of petit-bourgeois materialism. His breakthrough feature, Falling Leaves (1968), was awarded the FIPRESCI prize at Cannes. His films feature an intricately layered polyphony of dialogue, song and sound, a form without which he would have been “unable to make films.”

Soso Chkhaidze (1937-1992) was born in Tbilisi. He studied polygraph engineering before attending VGIK and beginning a career in TV and documentary. His first short, Kolkheti (1967), is about the gradual dissolution of a village in the Georgian floodplains. His first feature, Shepherds of Tusheti (1978), follows a sheep herder through the northern mountains during seasonal migration, imbricating what Alexandre Koberidze calls “pure reality and pure cinema” through a combination of non-professionals and one lead actor. His last film, Shvidkatsa (named after a type of polyphonic performance ensemble), was completed posthumously by his wife, Nana Zurabishvili, in 2025.

Tone Glow is excited to present “Life’s Collapsed Stanzas,” a two-program event featuring 12 films by the pioneering filmmaker Bruce Baillie (1931-2020). All films will be shown on 16mm.

The son of a sculptor, Baillie studied art himself at the University of Minnesota, the University of California at Berkeley, and the London School of Film Technique. In 1961, he began hosting backyard screenings in Canyon, California; these events would lead to the formation of two major institutions of independent and experimental film: the San Francisco Cinematheque and the Canyon Cinema Co-op. The films in this event present an expansive look at his filmography during the 1960s, his most prolific and influential period. These works span different modes, from the intimate and direct to the hallucinatory and avant-garde. All his works nevertheless reveal a sensitivity to their subject matter, finding ways to encourage viewers to look, think, and absorb both image and sound intently.

Tickets can be purchased here. One ticket is good for the entire event. The Chicago Film Society will also be showing Bruce Baillie’s film Quick Billy (1971) on Wednesday, March 18th at Constellation. More info can be found here. Special thanks to Elastic Arts, Canyon Cinema, and Ben Creech.

Program 1 at 6:00PM

1. Show Leader (1966, b/w, sound, 1 minute)

2. The Gymnasts (1961, b/w, sound, 8 mins)

3. Here I Am (1962, b/w, sound, 11 mins)

4. Mass for the Dakota Sioux (1964, b/w, sound, 20 mins)

5. Still Life (1966, color, sound, 2 mins)

6. A Hurrah For Soldiers (1963, color, sound, 4 mins)

7. To Parsifal (1963, color, sound, 16 mins)

8. Valentin De Las Sierras (1968, color, sound, 10 mins)

9. All My Life (1966, color, sound, 3 mins)

TRT = 75 mins

Program 2 at 8:00PM

1. Tung (1966, color, silent, 5 mins)

2. Castro Street (1966, color, sound, 10 mins)

3. Quixote (1963, color, sound, 45 mins)

TRT = 60 mins

EDIT: This event is now cancelled/postponed for reasons outside of our control. A new date will be announced soon. All tickets will be refunded immediately.

Tone Glow is excited to present “Eyes On the Road,” a film screening highlighting two structuralist, road-movie masterworks. The event will take place on Tuesday, February 24th at Chicago Filmmakers.

James Benning & Bette Gordon’s THE UNITED STATES OF AMERICA (1975) finds the two directors trekking from New York to Los Angeles, capturing the trip with a camera mounted to the back of their car. As we see America through a windshield, the radio plays pop songs and news broadcasts, painting a contemplative and expansive portrait of the country during its bicentennial. The film will be presented digitally via a 2K restoration completed last year.

Thom Andersen’s GET OUT OF THE CAR (2010) is a self-proclaimed “city symphony” of Los Angeles, with stationary shots of billboards, buildings, and murals in varying states of disarray. Describing the work as one of “militant nostalgia,” Andersen memorializes the past but forces consideration of why these signs and structures become neglected and will no longer exist in the future. “What are you doing,” someone asks in the film. “We’re just trying to document what’s left.” The film will be shown on a 16mm print courtesy of Canyon Cinema.

Tickets can be purchased here. Special thanks to Chicago Filmmakers, Canyon Cinema, James Benning, Dylan Lustrin, and Ben Creech.

“Eyes on the Road” Program:

1. James Benning & Bette Gordon, The United States of America (1975, color, sound, 27 mins; 2K restoration, DCP)

2. Thom Andersen, Get Out of the Car (2010, color, sound, 35 mins; 16mm)

TRT = 62 mins

Tone Glow is excited to present a special one-off screening of Albert Lewin’s surrealist, Technicolor masterpiece Pandora and the Flying Dutchman (1951). The screening will take place at Metrograph in New York this Saturday, December 13th at 5:15PM. The film will be preceded by a musical performance from singer and pianist Eliana Glass. Tone Glow interviewed Glass about her debut album E earlier this year.

According to Cardiff, “Lewin thought Ava was a goddess” and obsessively filmed close-ups of her face. This passion recalls Glass’s own love for having muses, allowing them to be “embalmed in the music forever.” For this special performance, she will be accompanied by Luke Bergman on pedal steel. The evening will offer a chance to consider Lewin’s “consuming obsessions,” which include myth, magic, beauty, the nature of art, and the cruelty of love.

“In the the fictitious Spanish port town of Esperanza—played by Tossa de Mar in Catalonia—haughty, headstrong heartbreaker Pandora (Ava Gardner) finds herself drawn into the orbit of mysterious stranger Hendrik van der Zee (James Mason), whom she comes to suspect of being the fabled “Flying Dutchman,” a 16th-century captain condemned to sailing the seas until such time as he finds a woman willing to die for love. It’s a ravishingly romantic fairy tale of a film from Lewin, one of the most cultured men to make a living in studio-era Hollywood, and probably the only American director of the time who would think to invite Man Ray onto his set to do behind-the-scenes photography, featuring the sublimely saturated Technicolor imagery courtesy of English past master cinematographer Jack Cardiff (The Red Shoes, Black Narcissus).” —Metrograph

Tickets for the event can be purchased here. Joshua Minsoo Kim will be present to give an introduction for Eliana Glass and Pandora and the Flying Dutchman.

The 4K restoration was completed by the Cohen Film Collection in conjunction with OCS (France), using the photochemical restoration begun by The Film Foundation in 2008.

Tone Glow is excited to announce "Rotating Signals: The Contemporary Korean Avant-Garde," a program of 10 short films highlighting the current landscape of experimental film in Korea, as well as from those in the Korean diaspora around the world. The past few years have shown a renaissance in Korea’s local film scene, due in no small part to legendary filmmaker Lee Jangwook leading workshops at SPACE CELL in the early 2020s, which inspired and taught younger filmmakers to create innovative works on 16mm. This would lead to the founding of different organizations, including Lothringen, who staged the ABBFF Byeongyeong Film Festival in 2024, and Sorigrim, which has hosted numerous screenings since their founding last year.

Notably, the latter is a venue for this year’s EXiS, the annual Korean experimental film festival currently spearheaded by Inhan Cho. Some of the films in this program have been shown at (or will show at) EXiS, while others represent the different strains of Korean filmmaking as it has been shaped by the different institutions and communities where directors attended and/or currently live. This event does not intend to showcase the entire breadth of the Korean experimental film scene today, but instead provide a snapshot during a crucial time in its history. As such, this program is being shown in multiple cities around the US as a celebration of the Korean avant-garde’s growth and unceasing creativity. All films will be shown digitally. Most cities will be showing the entire 10 films, others will be showing a smaller selection—check local venues to find out more information and to buy tickets.

Film Program

Program 1

1. Heehyun Choi, A Dark Room (2025, b/w, silent, 10 mins)

2. Hyoin Kwak, Spoken Word (2023, b/w, silent, 4 mins)

3. Chae Yu, Rotating Signals (2025, color, sound, 10 mins)

4. Go-Eun Im, Shadow-Forest (2025, color, sound, 28 mins)

5. Hyeisoo Kim & Luuk Schröder, Long Sand and Water (2023, color, silent, 5 mins)

TRT = 57 mins

Program 2

1. Jiyong In, Bye, Snark, Boo-Jum! (2024, b/w, silent, 8 mins)

2. Kyujae Park, Geomeunyeo (2025, b/w, sound, 3 mins)

3. Il-hwan, Pyohaerok (2025, color, silent, 14 mins)

4. Kyujae Park, Buseok (2024, b/w + color, silent, 18 mins)

5. Chul-woong Jang, Lord (2024, color, silent, 14 mins)

TRT = 57 mins

Note: Go-Eun Im’s Shadow-Forest was commissioned by the National Museum of Modern and Contemporary Art in Seoul, Busan Museum of Contemporary Art.

Tour Dates

Check venue websites for ticket links. This list will be updated.

• Chicago: July 2nd at Elastic Arts (Ticket Link)

• Atlanta: July 8th at Commune (Ticket Link)

• New York: July 27th at Life World (Ticket Link)

• Seattle: July 27th at Beacon Cinema (Ticket Link)

• Los Angeles: July 30th at Whammy (Ticket Link)

• Austin: July 31st at We Luv Video (Ticket Link)

• Houston: August 1st at Basket Books & Art (Ticket Link)

• Honolulu: August 9th at Aupuni Space (Information)

• Santa Fe: August 22nd at No Name Cinema (Information)

• Dallas: August 23rd at Spacy (Ticket Link)

• Oakland: September 12th at Shapeshifters (Ticket Link)

Artist Bios

Heehyun Choi is a moving image artist and educator based in South Korea and the US. Her practice is grounded on the interest in the physicality and virtuality in projected images, the unseen beings outside the camera frame, and the subjectivity and variability of the act of seeing. Choi received her BA in Art&Technology at Sogang University and MFA in Film & Video at California Institute of the Arts. Her films have been screened internationally including at Edinburgh International Film Festival, 25 FPS Festival, Images Festival, DMZ International Documentary Film Festival, Experimental Film and Video Festival in Seoul (EXiS), and Ann Arbor Film Festival where she received the Mariam Ghani Juror Award. She is the recipient of 2024 KAFA (Korea Arts Foundation of America) Award, WNDX x NIMAC Experimental Moving Image Award, AHL Foundation Artist Fellowship, Alison Doerner Fund for Women Pioneers in Filmmaking, the Lightning Fund by Los Angeles Contemporary Exhibitions (LACE) and Andy Warhol Foundation for the Visual Arts.

Hyo In Kwak was born in 1998, Seoul. He studied film and is interested in invisible things.

Chae Yu is based in Seoul, South Korea and is interested in experiencing different expressive positions in sound and image. Her films trace the rhythmic continuity of bodily gestures, exploring how they connect with transient places where relationships between individuals dissolve. Her films have been presented internationally in various film festivals and venues.

Go-Eun Im is a filmmaker and visual artist based in Seoul and Amsterdam. She explores the features of cinematic language to interweave the dialectical relations between history and memory. In search of poetic languages for feral thought and sensation, she has created various mixed-media installations, performances, and workshops. Her works have been presented at EXiS (Experimental Film and Video Festival in Seoul, 2023), the International Short Film Festival Oberhausen (2021), the OB/SCENE Festival (2021), Emerging Other (ARKO Art Center, 2016), and the Asian Film & Video Art Forum (MMCA, 2015), among others.

Hyeisoo Kim is currently following the Research Master in Cultural Analysis at the University of Amsterdam, focusing on sexuality and care through post porn politics. She collectively engages with different cultural projects based in the Netherlands and South Korea. Over the Last 8 years, she has worked at Filmhuis Cavia in Amsterdam as a programmer, collaborating with diverse communities and filmmakers. She is a co-organiser of the Porn Film Festival Amsterdam and Climate Performers.

Luuk Schröder is an artist and researcher living in Amsterdam, the Netherlands. He is interested in the social and ecological repercussions of media technology and its supporting infrastructure on our world. By orchestrating unfamiliar confrontations between bodies and media equipment, his installations invite materially informed experiences. Luuk is currently doing an artistic PhD at the Rijksuniversiteit Groningen and teaches sculpture and artistic research at the Minerva Art Academy.

Jiyong In was born in 2001. He currently lives in Seoul and makes digital films.

Park Kyujae is a South Korean filmmaker who primarily works with analog film media, exploring visual perception, materiality, and poetic imagery through 16mm filmmaking. His works have been screened internationally, including at Pesaro Film Festival, ARKIPEL (Jakarta), Prismatic Ground (New York), and EXiS (Seoul). His films are distributed by Light Cone in Paris, France. He also translates films for festivals and cinematheques and organizes screenings and events.

Il-hwan is a filmmaker/programmer based in Seoul. He is also the founder of the film collective Lothringen. His film works have been presented through various exhibitions and screenings in South Korea. His film works primarily explore experimental documentary forms, combining static long-take landscape images with historical found footage.

Chul-woong Jang is a filmmaker based in Seoul. He is interested in experimenting with the structure of film.

Tone Glow is excited to announce “Little Histories: The Films of Greta Snider,” a career-spanning retrospective of the Bay Area filmmaker. Since the 1990s, Snider has weaved found footage and documentary into stirring montages rife with hand-processed footage, optical printing, and diaristic narration. Inspired by the modest portraiture of Curt McDowell’s Ronnie (1972), she felt empowered to make works that could transform small, personal stories into history. She captures a punk show in Hard Come Home Movie (1989), her hitchhiking and train-hopping friends in Portland (1996), and her father’s photographic legacy in Flight (1996).

The event will be split into two programs. The first will feature seven of her early films, all made during the late ’80s and 1990s. The second will feature her expansive and episodic No-Zone (1993) alongside three newer works. This second program will include two dual-projector stereoscopic 3D works, Cult of Compliance (2019) and Instructions From Ancestors (2022). Polarizing glasses will be provided. The screening will also include the North American premiere of her newest film, In the Maritime Frequencies (2025). All films will be shown on 16mm. Greta Snider will be in attendance for a post-screening Q&A.

The event will take place at Public Works Gallery in Chicago on Friday, May 23rd at 7PM. Tickets can be purchased here. Only one ticket is needed for the whole event. Special thanks to Public Works Gallery, Canyon Cinema, Ben Creech, Block Cinema, and Greta Snider. Greta Snider’s Quarry Movie (1999) will also be shown as part of “Endless Reveries: Water in Experimental Film,” a screening programmed by Kylie Walters that will take place on Thursday, May 22nd at the Block Museum. More info can be found here.

Program 1 at 7:00PM

1. Hard Core Home Movie (1989, sound, b/w, 5 mins)

2. Portland (1996, sound b/w, 12 mins)

3. Our Gay Brothers (1993, sound, color, 9 mins)

4. Blood Story (1990, sound, color, 3 mins)

5. Futility (1989, sound, b/w, 9 mins)

6. Mute (1991, sound, color, 13 mins)

7. Flight (1996, silent, b/w, 5 mins)

TRT = 56 mins

Program 2 at 8:30PM

1. No-Zone (1993, sound, color, 19 mins)

2. In the Maritime Frequencies (2025, 15 mins) [North American Premiere]

3. Cult of Compliance (2019, 10 mins) [3D, dual projector]

4. Instructions From Ancestors (2022, 15 mins) [3D, dual projector]

TRT = 59 mins

Tone Glow and Employees Only are excited to present “Grin and Bear It: Cinema of the Dark Clown,” a multimedia event centered on the figure of the dark clown in experimental moving image. The festivities will take place on Friday, May 16th at 7PM at Elastic Arts and will be broken into three programs: 1) an analog film showcase of iconic works from Jack Smith and Luther Price, 2) videos highlighting the dark comedy of Hester Scheurwater, Ximena Cuevas, Anne McGuire, and Paul & Marlene Kos, and 3) a series of lyrical 16mm films from Jean Sousa, Donna Cameron, and Fred Worden. The evening will also include two live clowning and puppetry performances from local artist Justin D’Acci. Throughout the event, the clown is found in conceptual, queer, and feminine forms, in criminality and pranksterism, in metaphorical explorations of the circus’ beauties and sorrows.

“Grin and Bear It” will remind us that the dark clown is up for grabs as a multivalent cipher for contemporary alienation, one which sublimates our collective desires for revolution. He is a mythically charged trickster forced to wear a smile while wiping pie off his face. Despite his enduring status as the contemporary avatar of ironic detachment—popularized by the Joker archetype—he is difficult to pin down as a cultural singularity. He’s at once a foil to notions of order and justice, an anarchist driven to the outer reaches of sanity by undying capitalist structures, and a giddy nihilist enlightening us to the many hypocrisies of our cruel world. Ultimately, we keep a distance while admitting to his charms.

Tickets for “Grin and Bear It” can be purchased here. A single ticket is good for the entire night. Special thanks to Elastic Arts, Justin D’Acci, Canyon Cinema, the Film-Makers’ Cooperative, Video Data Bank, Ben Creech, and Josh Mabe. Program notes by Elise Schierbeek and David Whitehouse.

Justin D’Acci (b. 1997) is a Chicago-based clown, artist, and puppeteer who experiments with found objects and techniques of automatism. Recent exhibitions include Survey (2025) at Unda.m. 93; Tenebrae (2024) at Weatherproof; Pressure Dome (2023) at SULK; along with a slew of happenings throughout Chicago’s parks. His puppetry has been presented most often for Rough House’s cabaret—Nasty, Brutish & Short—at Link’s Hall, and most recently at the New Orleans Giant Puppet Festival. He holds irregular clown classes for the delirious among ye. More information about Justin D’Acci can be found here.

Employees Only is an itinerant curatorial project focused on experimental documentary and short-form video from both emerging and established filmmakers in Chicago and beyond. More information about Employees Only can be found here.

Grin and Bear It: Cinema of the Dark Clown

Film Program 1 (16mm & Super 8mm)

1. Mr. Wonderful (Luther Price, 1988, 10 mins)

2. Song For Rent (Jack Smith, 1969, 4 mins)

3. Hot Air Specialists (Jack Smith, 1980, 7 mins)

4. Clown (Luther Price, 1990-2002, 13 mins)

TRT = 34 mins

Clown Performance by Justin D’Acci

Film Program 2 (Digital)

1. Ensayo de un Crimen (Ximena Cuevas, 2005, 2 mins)

2. Poster Girl (Hester Scheurwater, 2003, 5 mins)

3. I Am Crazy and You're Not Wrong (Anne McGuire, 1997, 11 mins)

4. Sirens (Paul Kos & Marlene Kos, 1977, 7 mins)

TRT = 25 mins

Puppet Performance by Justin D’Acci

Film Program 3 (16mm)

1. The Circus (Jean Sousa, 1977, 6 mins)

2. The Clown (Donna Cameron, 1998, 13 mins)

3. Throbs (Fred Worden, 1972, 7 mins)

TRT = 26 mins

Tone Glow and Prismatic Ground are excited to present a special nine-film program highlighting works from the Korean video artist Cho Seoungho. The screening takes place at Anthology Film Archives on Sunday, May 4th and is part of Prismatic Ground, an annual film festival in New York that showcases experimental documentary and avant-garde film.

Cho Seoungho (b. 1959) was born in Busan, South Korea and received his MA in graphic arts from Hongik University and his MA in video art from New York University. For more than thirty years, he’s created works that employ digital image processing techniques to startling effect, conjuring disorienting visions of public spaces and expansive landscapes. Electronic Arts Intermix describes his works as featuring “subtly developed, open-ended narratives that emphasize the embodied nature of perception and experience,” often exploring how “nature is represented through technology.” The program includes the North American premiere of his two newest works: Late August 1993 (2024) and No Re (2024).

Tickets for the event can be purchased at the Anthology Film Archives website here. Tone Glow wants to highlight two other major pieces of programming at Prismatic Ground: four films from the Indian Parallel filmmaker Kumar Shahani, presented on rare, imported 35mm prints; and a program featuring short films by the Indian filmmaker Ashish Avikunthak, who is this year’s recipient of the Ground Glass Award. Special thanks to Electronic Arts Intermix, Living Media Art, and Anthology Film Archives.

Program:

1. Forward, Back, Side, Forward Again (1995, 11 mins)

2. ws.3 (2003, 6 mins)

3. Horizontal Intimacy (2010, 8 mins)

4. I Left My Silent House (2007, 9 mins)

5. Shifted Horizon (2009, 6 mins)

6. Blue Desert (2011, 12 mins)

7. Latency/Contemplation 1 (2016, 7 mins)

8. Late August 1993 (2024, 10 mins)

9. No Re (2024, 7 mins)

TRT = 70 mins

Tone Glow is excited to announce “So Lovely to Be,” a seven-film retrospective of the works of Sandra Davis. Based in San Francisco, the avant-garde filmmaker has spent the past 50 years constructing works of arresting beauty and elegant poeticism. Her approach to editing was inspired by Johann Sebastian Bach, taking influence from the harpsichord’s short decay and the fugal form to ensure that her every successive image shapes one’s understanding of all previous ones. This deep consideration of form, as well as her seamless blend of the cerebral and emotive, is something that Stan Brakhage has commented on regarding her 1980 masterpiece Maternal Filigree: “It trembles like poetry, music... symbol rubs and clashes with symbol, so that each is always vibrant.”

The event will take place on Friday, May 2nd at Chicago Filmmakers. There will be two programs for with a short intermission in between. The first program will focus on Davis’ sound films, which includes her striking postcard trilogy, whose works were conceived as “songs to the passion of place.” The second program will highlight Davis’ silent works, including her 1988 film An Architecture of Desire, which melds images of the Chaco Canyon, Chicago's Graceland Cemetery, and her elderly aunt’s body. All films will be shown on 16mm with prints courtesy of Canyon Cinema. The US premiere of Davis’ films took place in 1978 at Chicago Filmmakers, and we are excited to bring her works back to the same institution decades later. Sandra Davis will be in attendance for a rare post-screening Q&A.

Tickets can be purchased at the Chicago Filmmakers website here. A single ticket is good for both programs. Special thanks to Sandra Davis, Chicago Filmmakers, Canyon Cinema, and Cameron Worden. Ultra Dogme will also be streaming a digital version of Maternal Filigree as part of their Movie Club in May.

Program 1 at 7:00PM

1. Au Sud (1991, color, sound, 6.5 mins)

2. À la campagne, à Khan Tan Su (1992, color, sound, 2.5 mins)

3. Une fois habiteé (1992, color, sound, 6 mins)

4. Matter of Clarity (1985, color, sound, 28 mins)

TRT = 43 mins

Program 2 at 8:00PM

1. Soma (1978, color + b/w, silent, 17 mins)

2. An Architecture of Desire (1988, color, silent, 17 mins)

3. Maternal Filigree (1980, color + b/w, silent, 18 mins)

TRT = 52 mins

Tone Glow is excited to announce “Under Some Kind of Hex: Love & Sex in the Films of Stan Brakhage.” This two-part program will take place on Wednesday, April 9th at Elastic Arts in Chicago and feature 16 short films from Stan Brakhage. In 1963, Brakhage noted in his book Metaphors on Vision that his works concern themselves with “birth, sex, death, and the search for God.” The first program will feature 8 abstract works, including the six films that make up his Lovesong series. The second program will feature 8 films grounded in actual people and places. All films will be shown on 16mm. Of his Lovesong films, Brakhage has said the following:

Every time that I deal with lovemaking it’s always seemed to me some kind of a failure. And Marilyn [Brakhage] first made it clear to me why this was: because the acts of being involved in art as an aesthetic experience are so completely different from those of loving. Such an alternate, such an other, they almost don’t seem to exist in the same world. But then the drive is ever more fervent to enjoin such differences, to create a film that truly is what it’s about, and is sexual loving. I’m hoping that Lovesong achieved that finally, and certainly there have been little achievements, both with camera and with hand-painting along the way, attempts at least.

—Stan Brakhage, 2003 (via the Brooklyn Rail)

Tickets are $15 and can be purchased here. A single ticket is good for both programs. Tickets will be available at the door unless they all sell out on the site. If tickets sell out, there will be a standby line.

Thank you to Elastic Arts, Canyon Cinema, The Film-Makers’ Cooperative, and Ben Creech.

Program 1 at 7:00PM

1. Thigh Line Lyre Triangular (1961, silent, 6 mins)

2. Lovesong (2001, silent, 11 mins)

3. Lovesong 2 (2001, silent, 3 mins)

4. Lovesong 3 (2001, silent, 9 mins)

5. Lovesong 4 (2001, silent, 3 mins)

6. Lovesong 5 & 6 (2002, silent, 4 mins)

7. Sexual Saga (1996, silent, 3 mins)

8. Untitled (For Marilyn) (1992, silent, 11 mins)

TRT = 50 mins

Program 2 at 8:00PM

1. Sexual Meditation #1: Motel (1970, silent, 7 mins)

2. Sexual Meditation: Room with View (1971, silent, 4 mins)

3. Sexual Meditation: Faun’s Room, Yale (1972, silent, 3 mins)

4. Sexual Meditation: Office Suite (1972, silent, 4 mins)

5. Sexual Meditation: Hotel (1972, silent, 7 mins)

6. Sexual Meditation: Open Field (1972, silent, 6 mins)

7. Loving (1957, silent, 5 mins)

8. Window Water Baby Moving (1959, silent, 12 mins)

TRT = 48 mins

Tone Glow is excited to announce a special screening of Tobe Hooper’s Texas Chain Saw Massacre (1974) at the Anthology Film Archives in New York. The Texas Chain Saw Massacre stands as one of the most influential horror films of the 20th century, establishing various tropes that would be seen in slasher films for decades to come. Its DIY soundtrack has proven important too, inspiring underground musicians to create their own homespun cacophony, be they foreboding drones or industrial soundscapes. Composed and performed by Hooper and Wayne Bell, the soundtrack was thought to be impossible to release officially; the original tapes were presumably lost. But now, more than 50 years after the film’s release, the soundtrack has been issued by Waxwork. To celebrate, The Texas Chain Saw Massacre will be screened on 35mm and will be preceded by a set by musician Aaron Dilloway, who has called the soundtrack “ground zero for noise music.” The event will take place on Friday, March 14th at 7:30PM. Copies of the soundtrack will be on sale at the event. Tickets can be purchased at the Anthology Film Archives website.

The 35mm print comes courtesy of collector Harry Guerro, who has explained his unique copy of the film as follows: “It is an Agfacolor UK print with some bluish fade and some wear. Because the UK prints had a few small trims [i.e. was censored], I’ve cut this footage back in, frame for frame, from a US print which has reddish fade.” This Frankenstein’d version of the film is the optimal choice for an event celebrating a soundtrack defined by its ingenuity, resourcefulness, and gnarly atmospheres. Special thanks to Aaron Dilloway, Harry Guerro, María Barrios, Ian McColm, Jed Rapfogel, Anthology Film Archives, and Waxwork Records.

Tone Glow is excited to announce “Terrestrial Scrutiny,” a film program that will take place on Thursday, January 30th as part of the inaugural SQUARE Festival in Portugal. The different films—by Ernie Gehr, Eislow Johnson, Ewelina Rosinska, and Rodrigo Ribeiro-Andrade—have distinct vantage points, utilize varying source materials, and wield different cinematic techniques to disrupt conventional considerations of the locales we inhabit. The films were chosen based on the festival’s overarching theme: “Mapping the Atlantic.”

The films will be exhibited at GNRation in Braga as an installation from 10:15AM to 1:30PM. The screening will take place in an isolated dark room with chairs, and Joshua Minsoo Kim will provide an introduction before the films start. The films will play on loop until the installation ends. All films are presented digitally. More information can be found here. Details about all the films and the program can be found below.

Later that day, at 11:30AM, Kim will speak with the Kenyan artist and researcher Nyokabi Kariūki in a discussion titled “The margin doesn’t write history.” Kariūki will present a listening session and insight into her research on Halim El-Dabh, which will partly involve conversations about “learning that one of the first electronic works was by an African.” More information can be found here.

“Terrestrial Scrutiny” Program:

1. Ernie Gehr, Glider (2001, 20 mins, USA)

2. Eislow Johnson, In Place of a Hollow Tree (2024, 8 mins, USA)

3. Ewelina Rosinska, Unstable Rocks (2024, 25 mins, Germany/Portugal)

4. Rodrigo Ribeiro-Andrade, Solmatalua (2022, 15 mins, Brazil)

TRT = 68 mins

Glider

“Cool, delirious and mysterious. Futuristic, yet ancient. A voyage into a pictorial spaceworld that seems to be governed by extraterrestrial optical and gravitational laws.” —Ernie Gehr

In Place of a Hollow Tree

“Migrating from the Amazon basin across northern Illinois, a flock of chimney swifts flutter without perching, using a natural form of radar to navigate. The pulse of infrasound from deep ocean waves vibrates the ground and emanates up, guiding the birds amid disrupted air. Various forms of tuning elicit a strained acoustic ecology between altitudes.” —Eislow Johnson

Unstable Rocks

“Between 2018 and 2023, I came across different regions and places in Portugal, either alone or with a group of artists and eco-activists. The footage was shot on the fringes of these groups’ work and activities, reflecting and revealing themes such as nature conservation, ethnography, agriculture or actions against gentrification. Made in collaboration with Nuno Barroso.” —Ewelina Rosinska

Solmatalua

Solmatalua travels a dizzying itinerary through ancestral and contemporary territories, carrying out a mystical journey that rescues memories and searches for possible futures. Moving away from traditional reconstruction, Rodrigo Ribeiro-Andrade uses dance, performance, and archival footage to reimagine an odyssey of the African diaspora.

Tone Glow is excited to announce “The End is Here,” a series of four programs in light of Sweet Void Cinema’s Closing. Sweet Void Cinema is a microcinema in Chicago’s Humboldt Park that has been the primary site of Tone Glow’s film screenings throughout 2024. The venue will shut down at the end of the month. These four programs will include a dozen 16mm films spread across three nights—December 27th to December 29th.

The first program, titled “Modulating the Sublime,” will take place on December 27th and include six films from the late Vincent Grenier, a former professor at the School of the Art Institute of Chicago. These works will highlight the best of his early experiments shot on film. “Seeing the Light” will take place on December 28th and include two programs. The first will feature the late Malcolm Le Grice’s Berlin Horse (1970) and J.J. Murphy’s Print Generation (1974). The second will have two films from Stan Brakhage: The Shores of Pho: A Fable (1972) and The Text of Light (1974). On December 29th, we will show two films from Patrick Bokanowski: Déjeuner du matin (1974) and L’Ange (1982). All film prints were rented from Canyon Cinema and the The Film-Makers’ Cooperative. Special thanks to Josh Mabe for projecting. Each screening is $10 and ticket links can be found below. A series pass for all four screenings can be purchased for $35 here.

To provide context for Tone Glow and Sweet Void Cinema’s partnership: Back in March, Joshua Minsoo Kim attended a screening of 8mm films by Chicago filmmaker Shirley Erbacher (read about them here). Afterwards, he asked Sweet Void’s owner, Jack McCoy, if he could program 16mm films in their space. The first program, “Pop Music as Prismatic Utopia,” took place the following month. Sweet Void has since been instrumental in providing a space for Tone Glow to host avant-garde film screenings in Chicago on 16mm. We’re especially pleased with how its cozy interior (heightened by the Lynchian bathroom and alleyway right outside) provided a low-key, down-home atmosphere. It was the perfect location for the 51-film Brakhage retrospective and the many screenings that followed. Tone Glow wishes the best for everyone at Sweet Void and their future plans.

FRIDAY, DECEMBER 27TH

“Modulating the Sublime” at 7:00PM

1. While Revolved (1976, 9 mins, color, silent)

2. Interieur Interiors (To A-K) (1978, 15 mins, b&w, silent)

3. Closer Outside (1981, 9 mins, color, silent)

4. World in Focus (1976, 16 mins, color, silent)

5. Time's Wake (Once Removed) (1978, 12 mins, color, silent)

6. Tremors (1984, 13 mins, color, sound)

TRT = 74 mins

Purchase tickets for “Modulating the Sublime” here.

SATURDAY, DECEMBER 28TH

“Seeing the Light” Program 1 at 7:00PM

1. Berlin Horse (Malcolm Le Grice, 1970, color, sound, 7 mins)

2. Print Generation (J.J. Murphy, 1974, color, sound, 50 mins)

TRT = 57 mins

Purchase tickets for “Seeing the Light” Program 1 here.

“Seeing the Light” Program 2 at 8:30PM

1. The Shores of Phos: A Fable (Stan Brakhage, 1972, color, silent, 10 mins)

2. The Text of Light (Stan Brakhage, 1974, color, silent, 67 mins)

TRT = 77 mins

Purchase tickets for “Seeing the Light” Program 2 here.

SUNDAY, DECEMBER 29TH

"Impermanent Tableau" Program at 7:00PM

1. Déjeuner du matin (Patrick Bokanowski, 1974, color, sound, 12 mins)

2. L’Ange (Patrick Bokanowski, 1982, color, sound, 70 mins)

TRT = 82 mins

Purchase tickets for “Impermanent Tableau” here.

Although many synesthetic films are wonderfully evocative, Hindle’s recent works are especially notable for their ability to generate overwhelming emotional impact almost exclusively from cinematic technique, not thematic content.

—Gene Youngblood, Expanded Cinema

Tone Glow is excited to announce “Unknown Nostalgia,” the first complete retrospective of Will Hindle’s filmography. Will Hindle (1929-1987) was an American filmmaker whose striking and innovative use of experimental film techniques led to the creation of a small but mighty body of work. Born in Louisiana and later relocating to Los Angeles, he grew up with an actress mother, which led to him having various stints as a child actor. He would attend Stanford University, live in San Francisco, and then relocate to rural Alabama.

Hindle’s familiarity with Hollywood, and his experience with making dozens of television programs for CBS / Westinghouse, would contribute to his conclusion that all art motivated by profit could never be considered great. After making his first two films, Pastorale d’été and Non Catholicam, he recognized that he didn’t have the financial means to create all that he desired and consequently found novel ways to make his films. For example, Gene Youngblood notes in Expanded Cinema that Hindle would shoot original scenes with wide-angle lenses before “cropping” them through rephotographing the images with a special single-frame projector.

This series will take place on Sunday December 8th, 2024 at Sweet Void Cinema in Chicago. We will be showing all eleven of his films, split into three programs. Details about the programs, as well as ticket links, are available below. A trailer featuring clips from four of his films can be seen in the following YouTube video. Special thanks to Sweet Void Cinema, Canyon Cinema, and Josh Mabe.

Series Pass ($25) | Individual Program Tickets ($10)

Program 1 at 1PM | Tickets

1. Pastorale d’été (1958, 9 mins)

2. Non Catholicam (1963, 10 mins)

3. FFFTCM (1967, 5 mins)

4. Billabong (1968, 9 mins)

5. Watersmith (1969, 32 mins)

TRT = 65 mins

Program 2 at 2:45PM | Tickets

1. 29: Merci Merci (1966, 30 mins)

2. Chinese Firedrill (1968, 25 mins)

TRT = 55 mins

Program 3 at 4:30PM | Tickets

1. Saint Flournoy Lobos-Logos and the Eastern Europe Fetus Taxing Japan Brides in West Coast Places Sucking Alabama Air (1970, 12 mins)

2. Later That Same Night (1971, 10 mins)

3. Pasteur³ (1976, 22 mins)

4. Trekkeriff (1987, 9 mins)

TRT = 53 mins

Tone Glow is excited to announce “In Dreams Begin Responsibilities: A Celebration of Jonathan Rosenbaum,” a screening that will take place at Chicago’s Music Box Theatre on Tuesday, November 26th. Film critic Jonathan Rosenbaum is one of Chicago’s greatest treasures, providing decades of peerless insight into films both big and small, domestic and international. His newest book, In Dreams Begin Responsibilities: A Jonathan Rosenbaum Reader, is released by Hat & Beard Press and collects six decades of his writings, from film criticism to essays to album reviews.

This screening will bring together three short films. The first is Peter Bull’s The Two-Backed Beast, or The Critic Makes the Film (1978, 45 mins), an experimental short film that finds Rosenbaum playing himself, being interviewed about a film that doesn’t exist. Bull proceeds to create the film that Rosenbaum describes. The alternating footage provides insight into these two different modes of representation. This film print is from Rosenbaum’s personal collection and was recently purchased by Joshua Minsoo Kim. Rosenbaum hand-selected two other short films to round out the program: Michael Snow’s Breakfast (Table-Top Dolly) (1976, 15 mins) and Owen Land’s On the Marriage Broker Joke as Cited by Sigmund Freud in Wit and Its Relation to the Unconscious, or Can the Avant-Garde Artist Be Wholed? (1977, 18 mins). All three films will be projected on 16mm.

Rosenbaum will be in attendance for a post-screening Q&A. Copies of his new book will be for sale, and Rosenbaum will stick around to sign copies. Tickets for the screening can be purchased at the Music Box website here. Tickets are $11 or $8 for MBT Members. Thank you to Jonathan Rosenbaum, the Music Box Theatre, the Chicago Film Society, Julian Antos, Hat & Beard Press, and Canyon Cinema.

Tone Glow’s Editor-in-Chief Joshua Minsoo Kim recently interviewed Rosenbaum about his new book, his upbringing, and his love for jazz at the Chicago Reader. Read that piece here.

“In Dreams Begin Responsibilities” Program:

1. Breakfast (Table-Top Dolly) (Michael Snow, 1976, 15 mins)

2. On the Marriage Broker Joke as Cited by Sigmund Freud in Wit and Its Relation to the Unconscious, or Can the Avant-Garde Artist Be Wholed? (Owen Land, 1977, 18 mins)

3. The Two-Backed Beast, or The Critic Makes the Film (Peter Bull, 1978, 45 mins)

TRT = 78 mins

Tone Glow is excited to announce “On the Move,” two programs of avant-garde dance films and road movies that will take place on Sunday, October 13th at 2PM and Monday, October 14th at 7PM. Screenings will be held at Sweet Void Cinema in Chicago. These films showcase a wide range of styles and ideas regarding the notion of a “dance film” and “road movie,” finding ways to complicate and expand their meaning. The intent is to further encourage contemplation of these works through their juxtapositions. We’re especially excited to screen some lesser-known works from beloved filmmakers, including Michael Snow’s Seated Figures (1988), Jonas Mekas’ Cup/Saucer/Two Dancers/Radio (1965/1983), and Gunvor Nelson’s Light Years Expanding (1988).

Everything will be shown on 16mm except Sharon Lockhart’s Goshogaoka, which will be shown as an HD digital projection. Tickets are $15 for each program and can be found here and here. Special thanks to Canyon Cinema, the Film-Makers’ Cooperative, Sweet Void Cinema, Joshua Mabe, and the Chicago Film Society.

Program 1 on Sunday, October 13th at 2PM:

1. Seated Figures (Michael Snow, 1988, 42 mins, color, sound) [16mm]

2. Goshogaoka (Sharon Lockhart, 1998, 63 mins, color, sound) [HD digital]

TRT = 105 mins (there will be a short intermission after Seated Figures)

Ticket Link

Program 2 on Monday, October 14th at 7PM:

1. Highway Landscape (J.J. Murphy, 1972, 7 mins, color, sound) [16mm]

2. Sound of One (Scott Bartlett, 1976, 11 mins, color, sound) [16mm]

3. Dozer (Anna Geyer, 1999, 15 mins, color & b/w, sound) [16mm]

4. Cup/Saucer/Two Dancers/Radio (Jonas Mekas, 1965/1983, 23 mins, color, sound) [16mm]

5. Hot Leatherette (Robert Nelson, 1967, 5 mins, b/w, sound) [16mm]

6. Dancers, Buildings and People in the Street (Rudy Burckhardt, 1986, 15 mins, color, sound) [16mm]

7. Light Years Expanding (Gunvor Nelson, 1988, 25 mins, color, sound) [16mm]

8. Roseblood (Sharon Couzin, 1974, 8 mins, color, sound) [16mm]

TRT = 109 mins (there will be a short intermission after Cup/Saucer/Two Dancers/Radio)

Ticket Link

Tone Glow and Pilsen Community Bedsheet Cinema are excited to announce “On Our Land,” a program of two documentaries about Palestinian displacement, community, and resistance. The event will take place at Pilsen Community Books on Sunday, October 20th at 5pm. Marilyn Gaunt’s Women Under Siege (1982, 26 mins) introduces women who play crucial roles—as mothers, teachers, organizers, laborers, and fighters—in providing the foundation for their people’s ongoing revolution. Antonia Caccia’s On Our Land (1981, 55 mins) centers on the village of Umm al-Fahm, revealing the discriminatory practices in housing, employment, and education that Palestinians face despite being Israeli citizens. Both films will be shown on rare 16mm prints, and the screening will be followed by an informal discussion led by Raja Halwani, a professor of philosophy at the School of the Art Institute of Chicago. The event is free but donations will be accepted at the event—all proceeds will go to UNRWA. RSVP for the screening here.

Special thank you to Ben Creech for projecting, Sebastian Di Trolio of the FRAMES Film Series for the prints, and to Raja Halwani for leading the post-screening discussion.

“On Our Land” Program:

1. Women Under Siege (Marilyn Gaunt, 1982, 26 mins, color, sound)

2. On Our Land (Antonia Caccia, 1981, 55 mins, color, sound)

TRT = 81 mins

Tone Glow is excited to guest program for Chicago’s Peripheries Experimental Film & Video Festival. 2024 marks the first edition of the festival that is presented in person, and it will take place across two (extended) weekends—from September 19th-22th and September 27th-29th—at Sweet Void Cinema. Peripheries’ goal is to highlight experimental works both historical and contemporary.

Festival Director and Lead Programmer Nicholas Swanton has spearheaded a slew of programs, including a mini retrospective of films by the legendary Canadian avant-garde director R. Bruce Elder, Daniel Barnett’s enigmatic Sweet Dreamers trilogy, and a selection of works by local filmmakers in the Sweet Void Cinema community. Additionally, guest programmer M. Woods will present three programs under their Agitate banner: “The Non-Event,” “Chicago,” and “In Discreet Space.” Elise Schierbeek, another guest programmer, will showcase two programs: one called “Memory Drum” and the other “Cloudwards.” There will be two “Special Preview” events prior to the festival: Tone Glow’s screening of Dirk De Bruyn’s Homecomings (1987), which has been previously announced; and M. Woods’ Body Prop, which is an “essay film and attack against the ontology of white imperialism.” These will take place on September 8th and 13th, respectively. Full details about the entire Peripheries Festival, including programs and showtimes, can be found here. Festival passes can be purchased at a discounted rate here.

Tone Glow’s programs for Peripheries are called “The States of Place.” These films consider the relationship people have with nature, domestic spaces, their country, and beyond. With poetic ruminations and abstract refractions, these filmmakers capture intimacy, beauty, confusion, and displacement as they reflect on space in lyrical fashion. This event will take place on Sunday, September 22nd across two parts. Program details can be found below. All films will be digital projections aside from Bruno Delgado Ramo’s Labores en curso, which will be shown on Super 8. Special thanks to Ramo for the print and to Josh Mabe for projecting.

Program 1: The States of Place, Part 1 @ 2:30PM

1. Francisco Rojas, A Sense of Nothing (2024, 4 mins, color, silent)

2. Alexandra Karelina, L’ailier (2024, 5 mins, color, sound)

3. Leonardo Pirondi, Adrift Potentials (2024, 12 mins, color, sound)

4. Onyou Oh, Eternal Depth (2024, 7 mins, color, sound)

5. Sofia Theodore-Pierce, Desire Path (2024, 2 mins, color, sound)

6. Eva Giolo, Silent Conversations (2023, 8 mins, color, silent)

7. Blanca García, How to Make Magic (2024, 5 mins, color, silent)

8. Bruno Delgado Ramo, Labores en curso (2024, 30 mins, color, sound) [Super 8]

TRT = 73 mins
Purchase tickets here

Program 2: The States of Place, Part 2 @ 4:00PM

1. Ewelina Rosinska, Ashes by Name is Man (2023, 20 mins, color, silent)

2. Allan Gilbert Balon, Si Longtemps*** (2020, 8 mins, color, sound)

3. Kamal Aljafari, UNDR (2024, 15 mins, color, sound)

4. Rawane Nassif, Msaytbeh, the Elevated Place. (2024, 20 mins, color, sound)

TRT = 63 mins
Purchase tickets here

***Copies of Allan Gilbert Balon’s new LP on Recital, The Magnesia Suite, will be on sale during the programs