Billy Woodberry


Friday, November 11, 7:00PM, Houston Museum of African-American Cinema (Free)


Saturday, November 12, 12:50PM, Sundance Cinemas

foto-billy-woodberryBorn in Dallas, Texas, Billy Woodberry is an independent filmmaker who has taught at the School of Film/Video and the School of Art at the California Institute of the Arts since 1989. His feature film Bless Their Little Hearts (1984) is an essential work of Los Angeles cinema, informed by Woodberry’s familiarity with Italian neo-realism and the work of filmmakers in Cuba, Brazil, India and Africa. It emerged out of the “L.A. Rebellion,” a movement of African and African-American filmmakers (including Woodberry, Julie Dash, Charles Burnett, and Carroll Blue) who created a radical, independent black cinema in opposition to Hollywood at the UCLA Film School in the late 1960s through the late 1980s. It won the Interfilm ecumenical jury award at the Berlin Film Festival and was added to the Library of Congress’s 2013 National Film Registry.

Woodberry’s two-hour video, The Architect, the Ants, and the Bees, was part of “Facing the Music,” a 2005 group exhibition, video and multimedia installation at the REDCAT gallery documenting the building of the Walt Disney Concert Hall and the transformation of downtown Los Angeles. His work has screened at the Viennale, Doclisboa, Amiens International Film Festival, Camera Austria Symposium, Harvard Film Archive, Human Rights Watch Film Festival and Museum of Modern Art. And When I Die, I Won’t Stay Dead is Woodberry’s first feature film in 31 years, and it will be accompanied by a new short film by Woodberry addressing African film master Ousmane Sembene, Marseille Après la Guerre.

Beth B


Friday, November 11, 9:00pm, Brasil Patio. Free


Saturday, November 12, 4:10pm, Sundance Cinemas

beth-b-photo-by-robin-hollandtempBeth B exploded onto the New York underground scene in the late ‘70s, after receiving her BFA from the School of Visual Arts in 1977. Controversial and political in approach and content, her breakthrough films, such as Black Box, Vortex, and The Offenders, were shown at Max’s Kansas City, CBGB’s, and the Film Forum. Her first 35mm film, Salvation! (1987), a sharp-edged social satire starring Viggo Mortensen and Exene Cervenka, prefigured pop culture’s fascination with tele-evangelism. Two Small Bodies (1994), based on Neal Bell’s play, was featured at the Locarno, Toronto and Sundance Film Festivals.

With a library of 30 films, B’s work has been the subject of retrospectives at London’s National Film Theater; the Montreal Film Festival; Lisbon’s Nucleo Dos Cineastas Independentes; and the Danish Film Institute. Throughout her career, Beth B has continued to make interdisciplinary pieces involving painting, sculpture, photography, theater, and media installations. They have been shown at museums, galleries and public art spaces, including MoMA, BAM, the Whitney Biennial, the Tate Gallery, and PPOW Gallery.

In 2013, B premiered EXPOSED, a non-fiction feature about 8 women and men who use their nakedness to transport us beyond the last sexual and social taboos, in the Panorama section at the 2013 Berlin Film Festival. Her latest film, CALL HER APPLEBROOG, explores the roots of the art of painter Ida Applebroog, Beth B’s mother and colleague.


Eryk Rocha


Sunday, November 13, 7:00p.m., Sundance Cinemas


Tuesday, November 15, 7:00p.m., Rice Cinema

14 Mostra de Cinema de Tiradentes 28-01-2011 Tiradentes/Minas Gerais/Brasil Eryk Rocha Foto: Leonardo Lara/DivulgacaoBorn in Brazil in 1978, Eryk Rocha grew up living throughout Latin America with his parents and filmmakers Paula Gaitán and Glauber Rocha, one of the founders of the Cinema Novo movement. He went to EICTV Film School in San Antonio de los Baños, Cuba, where he shot his first feature ROCHA QUE VOA in 2002. The film was selected in Venice, Locarno, Rotterdam and Havana Film Festivals, and won Best Film at the É Tudo Verdade Film Festival in Brazil. His second feature, INTERVALO CLANDESTINO (2006), won a Special Jury Mention at the Guadalajara IFF. He followed it with PACHAMAMA in 2010, selected to more than 20 festivals and winner of Best Film at the Cineport IFF. His first feature fiction, PASSERBY, came out in 2011 and was chosen as Best Film of the Year according to the Brazilian Critics’ Association and accumulated 25 awards internationally. JARDS, his 2013 feature doc, won Best Director at the Rio IFF and was invited to be part of New Directors/ New Films in New York, and will screen in this festival. His sixth feature, SUNDAY BALL (2015) was invited to festivals worldwide, including CPH:DOX and Mostra de Sao Paulo. His latest film, the doc-essay CINEMA NOVO, won the Œil d’or Prize for Best Documentary at the Cannes IFF in 2016, and has its Texas premiere at HCAF.

Eryk Rocha on his new film, Cinema Novo:

Cinema Novo was a fruitful Brazilian movement, both aesthetically and intellectually. It proposed a revolutionary representation of the country’s reality. CINEMA NOVO is a critical essay on a generation that created a new way of making films in Brazil…. According to my father Glauber Rocha, “wherever there is a filmmaker, prepared to stand up against commercialism, exploitation, pornography and the tyranny of technique, there is the living spirit of Cinema Novo.”… I believe that the great passion that moved me while making CINEMA NOVO was the need and will to think about Brazilian reality, about my people. And, of course, to dream of cinema. Paulo César Sarraceni used to say that he wanted to make a political cinema that was the best poetry. I believe it is urgent to create new imaginative, poetical and political filmmaking.

Amie Siegel


Friday, November 11, 7:00p.m. , Menil Collection, Free

medium_siegelAmie Siegel works variously between film, video, photography, performance and installation. Known for her layered, meticulously constructed works that trace and perform the undercurrents of systems of value, cultural ownership and image-making, the artist’s recent solo exhibitions include The Metropolitan Museum of Art, New York; Museum Villa Stuck, Munich; Kunstmuseum Stuttgart; and the MAK, Vienna. Her work is in public collections including the Whitney Museum of American Art, The Metropolitan Museum of Art, Tate Modern and the Solomon R. Guggenheim Museum. She has been a fellow of the DAAD Berliner-Künstlerprogramm and the Guggenheim Foundation.

From an interview with Amie Siegel by Andrea Picard (Cinema Scope, April 2014):

 All of my work is editioned, with the exception of the theatrical films Empathy and DDR/DDR. I’m interested in these multi-element projects having multiple lives and varied existences: Black Moon was shown alone at Cannes, and together with the video installation Black Moon/Mirrored Malle and the Black Moon/Hole Punches series of photographs at the Kunstmuseum Stuttgart, among many other exhibitions. There are certain works not meant to be screened theatrically, and others that have performative elements that can be realized in their entirety or on a temporal schedule. I’m interested in how their relationship to and divorce from their multiple components alters their meaning, and gives occasion for repeat audiences to view the works differently, as a larger act of montage.





Katherine DieckmannWriter-director Katherine Dieckmann began her directing career with music videos for such bands as Wilco, Aimee Mann, and R.E.M. She was the originating director on Nickelodeon’s groundbreaking children’s serial, The Adventures of Pete and Pete. Her feature lm credits include A Good Baby starring Paul Rudd (2000), Diggers (2006), Motherhood with Uma Thurman (2009), and her latest lm, Strange Weather (2016), which stars Holly Hunter. Dieckmann is an associate professor in the Film Division at Columbia University’s Graduate School of the Arts.

From a 2016 Interview in Filmmaker Magazine:

As for steadfastly making features, I am both stubborn and a pragmatist, and have been lucky to have equally stubborn, pragmatic people in my corner. The character-based narrative is of vital importance to me, and infuses how I approach screenwriting both as an artist and as a professor, so I will ght for its importance in lm form to the bitter end. . . My answer in terms of others seeking to do this kind of work is to write as rock solid a script as you possibly can, then cast well and keep it cheap, because that makes things possible, and allows you a certain amount of freedom.