Sponsored link
Thursday, February 29, 2024

Sponsored link

Arts + CultureMoviesGreta Snider's experimental films pack a punk punch at...

Greta Snider’s experimental films pack a punk punch at the Roxie

16mm autoethnographies, found footage essays, materialist inventions, and more in 'Pictures You Can Hold'

There is an undeniable magnetism to cinema. Sitting in a darkened room, held by the light and hum of a film projector, surrounded by others who are focused on the same image. Seeing a film in a theater is a warmly paradoxical experience: You are at once totally alone and in a wholly collective experience. It’s a feeling that has been starkly missing in the many months of the pandemic. It’s a feeling that, finally, is returning into our lives.

Canyon Cinema, the local film archive and distributor, announced a return to in-person screenings in partnership with The Roxie Theater last year, with a monthly series called Canyon at the Roxie. Presented in the intimacy of The Little Roxie, the series presents filmmakers from Canyon Cinema’s collection, focused on Bay Area artists. Canyon at the Roxie commenced in late August with a long-awaited memorial screening of filmmaker and founder of Canyon Cinema, Bruce Baillie, who passed away in 2020. Good Skies Almost All of the Time sold out three shows at The Roxie, with robust attendance that emphasized the enthusiastic desire to once again commune in the theater. 

Baillie’s intimate observations of ordinary life and landscape on 16mm film, and his legacy growing a thriving film community, set a fitting tone as the inaugural screening—an emphasis of the long history of experimental and artist-made cinema in the Bay Area. As viewers return to watching mainstream movies in-person, it is vital to also revitalize the practice of engaging with experimental film as gatherings in local theaters. While online screenings are a welcome shift that open access to more viewers, streaming does not supplant experiencing a film shot on celluloid in its original form.

‘No-Zone,’ by Greta Snider

Greta Snider, a San Francisco-based experimental filmmaker and professor at San Francisco State University, will be the focus of an upcoming Canyon at the Roxie program, “Pictures You Can Hold,” (Sat/26). Snider’s expansive practice embraces an almost boundary-less approach to filmmaking, redefining the scope and potential of nonfiction film.

Hard Core Home Movie from 1989 is an electric documentary of the San Francisco punk scene, propelled by film portraits of the scene’s youth and teeming crowds at the former community space, The Farm. Snider continues a poetic approach to documentary in No Zone (1993), a five-chapter collection that explores urban pollution and toxic waste, the AIDS epidemic, and nuclear experiments (with a frenetically joyful intermission of BMX bikers and skateboarders). Snider’s energetic handheld camera movements make for a dizzying and embodied viewing experience. No Zone also embraces visual abstraction, a formal approach continued in Snider’s later works.

Flight (1996) presents a film using the photogram/cinegram technique, in which strips of film and objects are laid onto celluloid and exposed to light. The film’s source materials come from Snider’s father, with layered, black-and-white negative images of faces, landscapes, birds, and planes soaring across the film frame. Flight is also a reminder of the value of seeing film in-person, to understand the physical, object qualities of moving image. Snider also brings cameraless filmmaking to a more recent work, A Small Place (2019). The film explores experiences of solitary confinement survivors with collected text and handmade filmmaking that emphasizes the desire for touch.

‘Cult of Compliance’ by Greta Snider

Fingerprints, streaks of ink, and handwritten text fly across the screen at a dizzying pace, interspersed with fragmented images of natural landscapes and empty interiors. A tensely minimalist soundtrack evokes room tone, with persistent buzzing and lone, echoing footsteps. The contrasting visual and auditory landscapes in A Small Place underscore the mental strain experienced by survivors of the carceral state.

This enthusiastic return to in-person cinema experiences stands in stark contrast to last year’s announcement that SFMOMA was shuttering its long-running film program. It is now all the more critical that independent and experimental programs, like those from Canyon Cinema, SF Cinematheque, Shapeshifters Cinema, and others, are supported to ensure that the experimental film ecosystem can continue to flourish in the Bay Area. Community support was fundamental getting through the closures of the pandemic, and it continues to be vital as we emerge into the days ahead.

Canyon at the Roxie will continue with upcoming programs by Alfonso Alvarez, Barbara Klutinis, and Toney Merritt.

GRETA SNIDER: PICTURES YOU CAN HOLD plays at Roxie Theatre, Sat/26. More info here.

48 Hills welcomes comments in the form of letters to the editor, which you can submit here. We also invite you to join the conversation on our FacebookTwitter, and Instagram

Sponsored link


City wastes millions on contracts with big out-of-town companies, report shows

More than $200 million goes for services city workers could provide much, much cheaper.

Get loud for the library! Submit to SFPL’s ‘Bay Beats’

The streaming site returns with a second submission period, March to May. Artists residing in Bay Area counties are invited to send in tunes

SF promised a lot of affordable housing—but community leaders say it won’t happen

New report has lots of 'creative' ideas, but there's nowhere near enough funding to meet the state mandated goals—and the Mayor's Office admits it.

More by this author

Review: In ‘Here Be Dragons,’ vibrant windows onto colonial economies

Sula Bermúdez-Silverman embeds indigenous commodities into transparent lunettes at Friends Indeed gallery.

Review: Sydney Cain’s gentle erasures summon omnipotent ancestral lineages

In 'Dust to Dust' at Rena Bransten, charcoal, graphite, and powdered metals evoke Black legacies and genealogical power.

Review: An alchemical conversation of brushstrokes at Cushion Works

Etel Adnan and Lynn Marie Kirby's 'THE WEATHER IS NOWADAYS CRAZY' summons silhouettes against the sky
Sponsored link

You might also likeRELATED