Event
NYUFF is Enough, part 2
While the NYUFF matured and grew, new trends emerged: more national and international program- ming, higher-profile documentary features, and a remarkable crop of new experimental film- and videomakers who combined formal rigor, wacky wit and mysterious evocations. New York viewers got some of their earliest peeks here at the works of Baltimorean Martha Colburn, Angeleno William E. Jones, Portlander Matt McCormick, Philadelphians Andrew Jeffrey Wright and Claire E. Rojas, Londoner Jennet Thomas, Viennese Kerstin Cmelka, Chicagoans Deborah Stratman and James Fotopoulos, and Texan Eileen Maxson. Not that New York wasnt represented: Tiger Me Bollix, Songs of Azores, Ya Private Sky and Little Flags all sprung from the small-gauge renaissance seen around Y2K in a cluster of local filmmakers. Significantly, the majority of these names have by now at least partially migrated to galleries and biennials; in retrospect, these years mark the beginning of a shift from one scene to another, as indie film disappears into star-studded Sundancism and the increasingly omnivorous art scene began paying more attention to the avant-garde edges of film and video.
Despite attaining a new legitimacy as its 10th year approached (more than one reviewer quipped that we had become an anti-institutional institution), the festival continued to court media-friendly controversies as it did in its earliest days. In 2002, a mere six nervy months after the September 11th attacks, the Westboro Baptist Church descended upon Anthology Film Archives to protest the fest, apparently miffed by the fact that a documentary about the Christian cults leader, the Rev. Fred Phelps, had been rejected by its programmers. It's nothing but a gaggle of tired old fudgepackers and muffdivers trying to shock each other with their jaded filth," Phelps wrote in his anti-NYUFF attack, not realizing that his crew would become one of the most eye-popping bits of entertainment on view that yearnor that he had arrived several years too late for that flavor of the underground. E.H.
1999: Crack, Jon Moritsugu, 16mm, 1 min
1999: Whats On?, Martha Colburn, 16mm, 2 mins
1999: The Fall of Communism as Seen in Gay Pornography, William E. Jones, Video, 20 mins
2000: The Vyrotonin Decision, Matt McCormick, 16mm, 7 mins
2000: The Manipulators, Andrew Jeffrey Wright & Claire E. Rojas, 16mm on video, 2 mins
2000: 4 Ways he tried to tell you, Jennet Thomas, Video, 6 mins
2000: Tiger Me Bollix, Andrew Lampert & Moira Tierney, Super 8 on video, 3.5 mins
2001: Songs of Azores, Adrianne Jorge, Super 8 on video, 9 mins
2001: Drowning, James Fotopoulos, 16mm, 3 mins
2002: Ya Private Sky, Stom Sogo, Video, 3 mins
2002: Mit Mir, Kerstin Cmelka, 16mm, 3 mins
2002: Little Flags, Jem Cohen, 16mm on video, 7 mins
2003: Untied, Deborah Stratman, 16mm, 3 mins
2003: Amy Goodrow: Tape 5925, Eileen Maxson, Video, 6 mins
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LocationAnthology Film Archives
32 Second Avenue
New York, NY 10002
United States
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