New York Film Festival: Kudláček, Kubelka, Preiss, Ahwesh, Price, Gibbons, Hiler
Kubelka presented his self-described last film, Monument Film, which consisted of sequential and simultaneous showings of his 1960 classic of structural cinema, Arnulf Rainer and its reverse, Antiphon, made just this year. Arnulf Rainer and now Antiphon are made up on just black and transparent frames. Kubelka exhibitted the 16mm film at the festival as well as giving out strips from it to those who came to the show. (The sound track consists of alternating silence and white noise.)
Also at the festival's Views from the Avant-Garde series were the marvelous, visually layered, collage films of Luther Price (pictured at right), fresh from his success at the Whitney Biennial; new 16mm prints blown-up from Super 8 of Peggy Ahwesh's terrific 1989 Martina's Playhouse and Joe Gibbons's paradigmatic, eery 1980 Confidential, Pt. 2, Jeff Preiss's riveting epic, Stop, and Jerome Hiler's Stone House.
Not part of the Avant Garde series, the Film Festival also premiered Richard Foreman's new Once Every Day. Foreman spoke with Amy Taubin after the premiere: