Premieres February 7th at 1PM and 7PM EST, on stream.spectacletheater.com.
Did you miss the first Long Distance Film Festival in July? Now’s your chance to watch a selection of films from last year’s program in a completely new sequence. This special Winter Remix showcases the goal of the festival—to forge connections across countries and genres. The showcase contains fifteen films, five from each original program (Culture, Connection, and Covid).
Tap Water (dir. Paul Restivo) (USA) (5:00)
“Advice from a good friend that has your best interest in mind,” Tap Water comedically considers the concept of “propaganda” by searching for the fine line between factual, believable, and convincing information. The footage was shot over five years but edited together in the first week of lockdown.
Novelty (dir. Saunder Lynne Boyle) (USA/France) (3:17)
A humorous reflection on belonging, “Novelty” takes us inside the mind of a dejected Parisian souvenir, who can’t help but longs for the popularity of the city’s finest artworks.
Sleepwalker (dir. Maximilien Luc Proctor) (Germany) (1:00)
Nocturnal anxieties manifest themselves in fleeting images that feel both deeply personal and universal. “Sleepwalker” abstractly represents late night restlessness in a way that is inexplicably tangible.
The Max Headroom Incident (dir. Tucker Dryden) (USA) (4:20)
Often cited as the most infamous instance of broadcast signal hijacking, “The Max Headroom Incident” takes us through that amusing minute of history by piecing together the footage and reactions to the event to make a fitting tribute to television’s most surreal moment.
Zoom Parties Suck (dir. LachiE Ross) (Australia) (3:37)
In “Zoom Parties Suck”, a group of friends try to recreate the normal events of a house party through the online platform Zoom. To the host’s despair and much hilarity, his guests turn out to be capable of having just as much fun as if they were really there in person.
Toad, Leaf, Grass Rock (dir. Federica Foglia) (Italy/CANADA) (3:30)
A contemporary take on Hollis Frampton’s “(nostalgia),” “Toad, Leaf, Grass Rock” concerns itself with the fragile nature of memory. Re-contextualizing the words of Eugenio Montale, this meditative and moody tone poem captures the melancholy of urban decay and passionate longing.
Eternal Sunday (dir. Rodrigo Buscato) (Brazil) (3:00)
Reflecting on the current standstill of society, “Eternal Sunday” considers the meaning of Sunday, and how this day of rest which has now become everyday for some of us, could be seen as a time when we can better come to know ourselves.
Dimensions (dir. Alessio del Pozo Temoche) (Peru) (2:33)
As families and loved ones are separated, loss is grappled with from a distance. With tender animation and a melancholic tone, “Dimensions” captures the distinct sense of helplessness that has invaded the human psyche.
It Won’t Be Long Now (dir. Joe Lueben) (USA) (5:20)
An honest diary entry disguised as a contemplative letter from Father to son during quarantine. Anxious narration, fearful of the present and its impact on the future sits in contrast to hope, embodied by mundane, fleeting moments of innocence.
Together (dir. Laine EllioTt) (USA) (7:47)
Two lovers create a time bubble in order to live inside one perfect moment. A pre-quarantine work, “Together” uses ephemeral, sumptuous imagery to capture the impact of time spent with that person you love most. A willing, self-imposed lock-down is set in order to keep regular world interference out.
One By Two (dir. Raghav Puri) (India) (4:42)
A short film about the difficulties of holding onto friendship, “One by Two,” with quick-witted dialogue and a charming pair of performances, explores the pitfalls of growing up over the span of several years and many more meals.
It was summer when (dir. Gloria Chung) (USA) (1:16)
“The surveillance network went down for two weeks.” A second submission Chung’s video series “Into the Midst of Things,” a video series of short vignettes portraying landscapes of physical life existentially altered by digital advancements. “It was summer when” enigmatically memorializes the natural world.
Even in Paradise (dir. Duane Peterson) (USA) (9:58)
“Even in Paradise” is an essay film that deconstructs the forgotten history of US warmaking. Through text superimposed over images of tranquil scenery and deserted urban buildings, the film reveals the way this history is still embedded in the geography and the infrastructure of California.
The Fishman (dir. Leto S. Meade & Agata Leniartek) (United Kingdom) (4:40)
The journey of a dying fish’s last moments. “The Fishman” formally embodies the transitory, shapeshifting nature of life and the inevitability of change by plunging its disembodied anthropomorphic protagonist between different mediums and styles.
Happy Ending (dir. Mei Liu) (USA/CHINA) (14:35)
A reclusive Zamboni driver finds comfort in his work, preferring the company of his icy rink to other people. When his shift is suddenly called off one day, he grapples with his newfound freedom by following a discarded coupon to an underground massage parlor. “Happy Ending” contemplates social, cultural, and professional alienation by invoking the spiritual necessity of working class solidarity in a way that blossoms well after it concludes.