Friday, March 4th
Celebrating Stan: A Brakhage Screening
Saturday, March 5th
It Came From Kuchar (Jennifer Kroot, 2009, 87 min.)
A hilarious and touching story of artistic obsession, compulsion and inspiration. The film interweaves the lives of the Kuchar brothers, their admirers, a history of underground film and a “greatest hits” of Kuchar clips into a mesmerizing stream-of-consciousness tale. An affectionate tribute from George’s former student.
One Night a Week (George Kuchar, 1978, 27 min.)
Based on a story originally written for a radio workshop in 1947. When parents make their teenagers stay in one night a week, it results in an orgy.
Terror by Twilight (George Kuchar, 1988, 6 min.)
George is in Tampa, Florida, for a one-day video workshop and makes a fast-moving trailer for a non-existent UFO abduction movie.
Sins of Bunny Luv (George Kuchar, 1994, 15 min.)
A college girl runs rampant through young lives at Sarah Lawrence College, leaving behind the rubble of shattered souls and deflated desires.
Say Yes to No (George Kuchar, 1989, 11 min.)
George made this film with students from Chicago’s School of the Art Institute. It includes a romp through the old Playboy Mansion where George bedded down for several days, “alone and confused.”
The Hurt That Fades (George Kuchar, 1988, 25 min.)
A three-day teleplay done at CalArts. A sordid behind-the-scenes look at an art school professor’s life.
House of the White People (George Kuchar, 1968, 17 min.)
A documentation of George Segal creating the basic elements for one of his sculptures, preceded by rare glimpses into his own private museum. Donna Kerness serves as his live model.
Wild Nights in El Reno (George Kuchar, 1977, 6 min.)
As hail and twisters batter the Great Plains, George holes up with his video camera in a cheap motel room to document the storm. This is the first film in the Weather Diaries and the only one not shot on video.
The Mongreloid (George Kuchar, 1978, 10 min.)
A man, his dog, and the regions they inhabited, each leaving his own distinctive mark on the landscape. Not even time can wash the residue of what they left behind
I, An Actress (George Kuchar, 1977, 10 min.)
Shot with George’s students at the San Francisco Art Institute, a screen test for an aspiring actress turns into a delightful parody of Hollywood moviemaking.
Devil’s Dairymaid (Kym Farmen & Denah Johnston 2009, 8 min.)
A dairymaid is lured into a dark forest by mischievous and ominous spirits. She discovers a magical churn in a clearing and churns until she becomes ‘electrified.’
Nightfall (Michael Kuchar, 2013, 12 min.)
Two men in the deepening night find pathways when God is asleep.
Stranger in Apt. #9F (Michael Kuchar, 1998, 17 min.)
Looking for "Mr. Right" in all the wrong places makes for a tragic comedy.
MoonTide (Michael Kuchar, 2015, 10 min.)
Locking the door against the power of the moon…
Devil’s Den (Michael Kuchar, 2013, 26 min.)
A club for misfits who descend into a psychedelic underworld. Made at the San Francisco Art Institute.
Museum of Damaged Art (Michael Kuchar, 2015, 10 min.)
An artist derives inspiration from a snare hell had laid for him.
Summer Sins (Michael Kuchar, 2014, 11 min.)
In the garden, in the dark hunger of the psyche, forbidden fruit grows…
Sunday, March 6th
I Like Tomorrow (Nancy Andrews & Jennifer Reeder, 2016, 3 min.)
Based on notes scribbled on the back of a napkin and inspired by Stanislaw Lem’s Star Diaries and Octavia Butler, this short film is an absurd contemplation of time and existence, combining live-action and animation. It features Michole Briana White as an astronaut on a solo space mission while in the midst of a complicated love triangle.
The Strange Eyes of Dr. Myes (Nancy Andrews, 2015, 75 min.)
A woman scientist seeks to create medical/scientific treatments and body augmentations that would elevate an individual’s consciousness by enhancing their senses to go beyond the normal human range of vision, hearing, smell and touch. A classic gothic horror, mad scientist movie, but with elements of the musical, animation and experimental cinema.
Lust for Ecstasy (George Kuchar, 1964, 34 min.)
Bathed in carnal debauchery, the human species grapples for one last fling in the muck of life, as a priest urges them to repent before the world comes to an end.
Hold Me while I’m Naked (George Kuchar, 1966, 17 min.)
Loosely autobiographical, the film centers on the tribulations of an independent filmmaker trying to make a film which aspires to artistic worth.
George Kuchar in Perspective
A panel discussion featuring Andrew Lampert (moderator), Michael Kuchar, Donna Kerness, Nancy Andrews, and Denah Johnston.
All events are free and open to the public!
The 12th Brakhage Center Symposium is sponsored by:
The Roser Visiting Artist Program
CU Film Studies Program
The William H. Donner Foundation