INFRARED: In Celebration of the Compton Transgender District

Presented by San Francisco Cinematheque & Curated by Malic Amalya
Tuesdays, Oct 9-Nov 6, 8pm
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INFRARED is a four-part series of experimental films by and about transgender, nonbinary and gender nonconforming artists. These films survey light refractions and the art of hair flipping, craft orifices and sites of injections into portals of transcendence, and extol anti-police riots and community uprisings.

Full event descriptions:

INFRARED Program 1 (Oct. 9, 2018)

Kairos Dirt and the Errant Vacuum

Filmmaker Madsen Minax and actress Eve Minax in person

Kairos Dirt and the Errant Vacuum (2017) by Madsen Minax; digital video, color, sound, 90 minutes

Because middle school student, TJ Fortune, neither fits within the framework of their age or gender, they are both bullied and revered at school. TJ recoils into an abandoned warehouse where he builds a massive sculptural shrine from discarded objects and trash. Meanwhile, TJ’s lunch lady and confidant, Rosie Cutler, makes initial contact with a transworldly being. Amid the post-industrial decay of the American south, Rosie and TJ seek out a spiritual medium/phone sex operator to help transport them to the apparition. Television monitors, radio frequencies, and orifices become portals to access this alternate, carnal dimension. (Malic Amalya)

Full program details here.


INFRARED Program 2 (Oct. 16, 2018)

Dislocation of Existence

A circular poem. A detective film. A performance of endurance. Hair flips. Hormone injection. Bodies adjoining bodies. Bodies being left behind. Messages from post-apocalyptic times. Dispatches from Standing Rock. The films in this program shift between embodiment and disassociation. They offer ephemeral glimpses into what’s possible and pulverizing flashes of what’s been stolen. Interlacing the physical with the ethereal, affects rapidly alter between despondency and euphoria. (Malic Amalya)

SCREENING: Stones and Water Weight  (2017) by Mykki Blanco; The Butterfly Effect (2012) by  Sofia Moreno; At Least You Know You Exist (2011) by Zackary Drucker; 3 Films for Untitled (1995) by Stom Sogo; Things We Both Know (Not Our Real Names) (2012) by Finn Paul & Roy Perez; Dislocation Blues (2017) by Sky Hopinka; A Little Bit of Exxxstacy (2011) by Mark Aguhar; The Dragon is the Frame (2014) by Mary Helena Clark.

Full program details here.


INFRARED Program 3 (Oct. 30, 2018)


Filmmaker Mica O’Herlihy in person

The films in Slow/Sheltering/Shattering unpack moments of seismic shifts, trace the intricacies of prolonged permutations, and make demands for immediate social restructuring. Dance and doubling become explorations of self-fluctuation. Pearls and bricks become tools for anti-police riots, military abolition, and handing the Centers for Disease Control over to ACT UP. (Malic Amalya)

SCREENING: Full of Pride (2010) by The Wreck Family; Joan Jett Blakk Announces Her Candidacy for President (1992) by Bill Stamets; Yellow Sequence (1963–65) by jack Smith; MyMy (2014) by Anne Helme; All That Sheltering Emptiness (2010) by Joey Carducci & Mattilda Bernstein Sycamore; Love Under Will of the Hags of Long Tooth (2015) by Mica O’Herlihy; White Fur (2015) by Nikki Silver & Neve Be; The Personal Things (2016) by Tourmaline Gossett; Happy Birthday, Marsha (2017) by Tourmaline Gossett & Sasha Wortzel; Beige Slow Change (2012) and Quick Change #203 Escape #5 (2012) by Syniva Whitney.

Full program details here.


INFRARED Program 4 (Nov. 6, 2018)

Jeff Preiss’ STOP

Filmmaker Jeff Preiss in person

In the tradition of home movies, Jeff Preiss’ experimental documentary, STOP, begins in his child’s early years and concludes in his child’s teenage years. In brief, rhythmic flashes, subjects repeat in cycles while others form isolated episodes. The development of an art gallery entangles with family celebrations. Quotidian violence—including a white man in a Native American costume—intertwine with transportation and television programs. London and New York City are captured as they mourn the loss of Princess Diana and react in shock to the September 11th attacks. Silence and atmospheric sounds alter, while light leaks and jump cuts pulse throughout the film. Over the course of seventeen years, Priess’ child is the only reliable marker of time. We watch as they age and their sense of self develops and differentiates from parental expectations. Preiss’s camera does not distance, judge, or sensationalize but provides a platform for his child to proclaim their gender identity. (Malic Amalya)

SCREENING: STOP (1995–2012) by Jeff Preiss

Full program details here.

Cover photo: Happy Birthday Marsha (2017) by Tourmaline Gossett & Sasha Wortzel



October 9, 2018
November 6, 2018
$5 - $10