Bespoke Film Distribution
ANHELL69 by Theo Montoya plays today at MoMI , Portland Museum of Art and National Gallery of Art 🕯️
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ANHELL69 (2022) by Theo Montoya
Spanish with English subtitles
A funeral car cruises the streets of Medellín as a young director tells the story of his past and recalls the pre-production of his first film, a B-Movie with ghosts. As a docufiction “trans film”, in the words of the director, Anhell69 explores the dreams, doubts and fears of an annihilated generation.
More screening dates for ANHELL69! Check theaters for tickets and additional info ❣️
ANHELL69 (dir. Theo Montoya, 2022, Colombia, Romania, France, Germany)
Spanish with English subtitles.
A funeral car cruises the streets of Medellín as a young director tells the story of his past and recalls the pre-production of his first film, a B-Movie with ghosts. As a docufiction “trans film”, in the words of the director, Anhell69 explores the dreams, doubts and fears of an annihilated generation.
Winner at Venice Film Festival (Critics’ Pick), Jury Special Mention
𝗧𝗵𝗲𝗼 𝗠𝗼𝗻𝘁𝗼𝘆𝗮 is a filmmaker, film director, director of photography and sometimes actor of his own movies. He is the founder and director of the production company Desvio Visual, which is dedicated to the creation of auteur and experimental films.
Get your tickets for SESSÃO BRUTA (RAW SESSION) and ANHELL69 playing this June at and !
Links to purchase in bio 🍭🍭🍭
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Slide 1: SESSÃO BRUTA (RAW SESSION) (dir. As Talavistas and ela.ltda, 2022, Brazil)
Shot with a Mini-DV camera without major preparations but with a great deal of sweat and beer, RAW SESSION presents itself as a succession of prologues of a film always yet to be made.
RAW SESSION was originally shot in 2018 and edited three years later. Between the capture of the images and the recording of its audio is a gap that comprised both the covid-19 pandemic and a good part of the Bolsonaro government. What began as pre-production research (for a work that never materialized) instead reveals the heart of a process that constantly returns to its point of origin.
Slide 2: ANHELL69 (dir. Theo Montoya, 2022, Colombia, Romania, France, Germany)
A funeral car cruises the streets of Medellín as a young director tells the story of his past and recalls the pre-production of his first film, a B-Movie with ghosts. As a docufiction “trans film”, in the words of the director, Anhell69 explores the dreams, doubts and fears of an annihilated generation.
FRIDAY JUNE 7 is the LA premiere of ANHELL69 and RAW SESSION at ! Link in bio to purchase tickets 🎆🎆🎆
More June screening dates at Lumiere to be announced soon.
Advance tickets now on sale for the June screenings of ANHELL69 and RAW SESSION at ! More details at the link in our bio 🚨
🌟Join us at the JUNE 1ST NYC PREMIERE for a double feature of both films 🌟
Images:
Slide 1 + 3 - SESSÃO BRUTA (RAW SESSION)
Slide 2 - ANHELL69
Join us for a double feature of ANHELL69 and RAW SESSION at both and premieres! More screening dates for both films to be announced soon 💜💚
Read Natalie Erazo’s latest essay on our dual release at the link in our bio 🔗🌟🔗erazo
Slide 1 - still from RAW SESSION
Slide 2 - still from ANHELL69
𝑹𝑨𝑾 𝑺𝑬𝑺𝑺𝑰𝑶𝑵 (𝑺𝑬𝑺𝑺Ã𝑶 𝑩𝑹𝑼𝑻𝑨) (ela.ltda/As Talavistas) coming soon as a dual release with ANHELL69 (Theo Montoya) this summer 🌞
Shot with a Mini-DV camera without major preparations but with a great deal of sweat and beer, 𝑺𝑬𝑺𝑺Ã𝑶 𝑩𝑹𝑼𝑻𝑨 presents itself as a succession of prologues of a film always yet to be made.
—
𝑺𝑬𝑺𝑺Ã𝑶 𝑩𝑹𝑼𝑻𝑨 was originally shot in 2018 and edited three years later. Between the capture of the images and the recording of the audios, there is this gap that comprises not only the pandemic, but also a good part of the Bolsonaro government. What began as pre-production research (of a work that never materialized) ended up revealing the heart of a process that constantly returns to its point of origin.
~ABOUT THE DIRECTORS~
𝑨𝒔 𝑻𝒂𝒍𝒂𝒗𝒊𝒔𝒕𝒂𝒔 are a trans art collective residing in Belo Horizonte. The artists work with image production in different formats: painting, performances, production of visual content for the internet, and fashion essays. The collective is composed of Darlene Valentim, Marli Ferreira, Pink Molotov and Cafézin. What unites them is the desire to take a slice of the world for themselves.
𝒆𝒍𝒂.𝒍𝒕𝒅𝒂 is an independent experimental proposal organization, with no fixed address. The anti-company is a community of non-community that deproduces films, plays, videos, photographs and the arts in general; a group of established anti-professionals with notable careers outside the mainstream.
SAF is thrilled to announce a joint theatrical run for ANHELL69 (dir. Theo Montoya) and RAW SESSION (dir. As Talavistas + Ela.Ltda) this summer.
More info on screenings forthcoming! Feel free to contact us for bookings.
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ANHELL69 by Theo Montoya
A funeral car cruises the streets of Medellín, while a young director tells the story of his past in this violent and conservative city. He remembers the pre- production of his first film, a B-Movie with ghosts. The young q***r scene of Medellín is casted for the film, but the main protagonist dies of a he**in overdose at the age of 21, just like many friends of the director. Anhell69 explores the dreams, doubts and fears of an annihilated generation, and the struggle to carry on making cinema.
𝗧𝗵𝗲𝗼 𝗠𝗼𝗻𝘁𝗼𝘆𝗮 is a filmmaker, film director, director of photography and sometimes actor of his own movies. He is the founder and director of the production company Desvio Visual, which is dedicated to the creation of auteur films and experimental films. His films have been shown at central festivals such as Cannes,Venice, Idfa, Clermont Ferrand, Mar del plata film festival and have received numerous awards.
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RAW SESSION (Sessão Bruta) by As Talavistas + Ela.Ltda
Shot with a Mini-DV camera in 2018 without major preparations but with a great deal of sweat and beer, Sessão Bruta presents itself as a succession of prologues of a film that is always to be made—a raw material always to be worked on.
𝗲𝗹.𝗹𝘁𝗱𝗮 is an independent experimental proposal organization, with no fixed address. The anti-company is a community of non-community that deproduces films, plays, videos, photographs and the arts in general. A group of established anti-professionals with notable careers outside the mainstream.
𝗔𝘀 𝗧𝗮𝗹𝗮𝘃𝗶𝘀𝘁𝗮𝘀 are a trans art collective residing in Belo Horizonte. The artists work with image production in different formats: painting, performances, production of visual content for the internet, and fashion essays. The collective is compose of Darlene Valentim, Marli Ferreira, Pink Molotov and Cafézin. What unites them is the desire to take a slice of the world for themselves.
New theatrical release coming soon from SAF….
👤📦
The SAF Bulletin is back this July! Link to sign up in our bio 🌱
As a supplement to our release of 𝘓𝘰 𝘘𝘶𝘦 𝘘𝘶𝘦𝘥𝘢 𝘦𝘯 𝘦𝘭 𝘊𝘢𝘮𝘪𝘯𝘰, we will be publishing a special edition bulletin titled 𝙍𝙤𝙪𝙩𝙚 𝙎𝙝𝙖𝙧𝙞𝙣𝙜, a series of conversations and writing about alternative and communal routes for film exhibition, production, eco-processing, archiving, and preservation, guest edited by A.E. Hunt.
Andres Sanchez and C. Diaz of Entre, a community film center in the Rio Grande Valley, and Ari Negovschi and Elizabeth Hansen of the Texas Archive of the Moving Image (TAMI) compare archival memories of their respective regions and the state at large, focusing on home movies and recorded oral histories.
Filmmaker Miko Revereza talks with the Echo Park Film Center (EPFC Collective) about new and old experiments with eco-processing recipes and how the collective has for decades enabled a series of organic and irreplicable interpersonal and aesthetic encounters.
Viridiana Marín writes about her work with Salón de Cines Múltiples, a mobile cinema collective that started just this May, and the history of other “cineclubs and traveling exhibitors” in Oaxaca.
The founder of Brixton Community Cinema, Abiba Coulibaly, talks with Ali Jaffery about his work with the revolutionary mobile cinema collective cinemóvil nyc and his upcoming documentary films on mutual aid and copaganda, which are direct extensions of his organizing.
Jason Tan Liwag talks with Filipino screenwriter legend Ricky Lee and his assistant Adelbert about how a trend of books on Philippine cinema can double as the only evidence of films that never made it past development, or films that were made and released but have since been totally lost.
Emerson Goo writes about how Ying Liang’s 𝘈 𝘍𝘢𝘮𝘪𝘭𝘺 𝘛𝘰𝘶𝘳 explores “citizenship” as determined by film festivals and the “DV Generation '' of Chinese Filmmakers whose films directly explored the ethics of the exhibition and festival landscape.
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Cover image: Nuestra Madre Tierra, Paula Nicho Cúmez, 2010, oil on canvas (detail)
Some wonderful news from our friends at , who are showing two shorts related to their feature LO QUE QUEDA EN EL CAMINO:
LA ESPERA (2020) has been chosen as a Vimeo Staff Pick!
https://vimeo.com/739573957
You an also catch PRIMER PAQUETE PARA HONDURAS (2022), which previously premiered at Visions du Réel, at the AFI Latin American Film Festival this October!
Congratulations to filmmakers Annika Mayer and Jakob Krese, who has just been nominated for the First Steps Award 💫
Join us for an Instagram Live Q&A with John Brattin on January 18 at 2 PM (ET)!
Our December Omnibus filmmaker will be discussing his film, The Triumph of Night (playing on the Sentient.Omnibus website now, link in bio) with Carla Troconis, Sentient.Omnibus Lead Producer.
The Triumph of Night (2006), directed by John Brattin, is available to watch on the Sentient.Omnibus site. Read a little more about the film and check out some BTS photos here! Link in bio!
The Triumph of Night begins with a group of people gathered to share ghost stories. An unknown guest recites a story involving a young woman who travels to a small town to take a domestic position caring for a sickly woman. From the moment of her arrival, the situation is unusual. The plot unfolds to reveal that the various characters who inhabit an old house are somehow complicit in a series of strange disappearances, particularly that of the town's children. Through a dream sequence visitation of a ghost, the protagonist discovers the source of this unwholesome disturbance.
Keep up to date with our Sentient.Omnibus releases every month by subscribing to our SAF Bulletin newsletter, LINK IN BIO! To learn more about the Sentient.Omnibus program and filmmakers, the Sentient.Omnibus site link is in our bio too.
So pleased to announce that Some Divine Wind is streaming on New Year is starting off right! 🐣 Love you 💫
We are thrilled to announce that we will be collaborating in a distribution and sales capacity with this incredible documentary LO QUE QUEDA EN EL CAMINO.
The film, co-directed by Jakob Krese and Danilo do Carmo, tells the story of Lilian, an indigenous mother of four who is determined to reach the US border. The film walks with Lilian and her children as she joins a caravan heading north through Mexico.
The film premieres this week . We will be helping to sculpt the film’s festival release in 2022 and theatrical release after that. We are honored to be a part of this team and look forward to supporting this film and its relational network as it circulates through the world!
This Thursday, the day after the Q&A with Jovan for the Omnibus, join us for a conversation with Spencer Nakasako and Vincent DiGirolamo on their first film, Monterey’s Boat People (1982). The short is currently playing as the October spotlight in the Vault, the series of free shorts for My Sight is Lined with Visions (link in bio).
The video is a short excerpt about the surprising linkages between different Asian countries and fishing industry in the US. As the fall of Kabul visually and politically mirrors the fall of Saigon in so many ways, this film is worth revisiting for its interrogation of anti-refugee and anti-Asian actions, as well as how media attention and documentary film/video gold rush for access affected the filmmakers and the local communities they were filming.
Thursday, October 28 7PM ET/4PM PT .art.film
We are so delighted to announce the inaugural Line of Sight Fellows: Emily Chao, who are paired up with our rockstar mentor filmmakers .moritsugu and .
Three 📣 as we embark on this year-long journey together.
Keisha and Abby are grateful to everyone who applied and blown away by the persistence of vision and desire to create beautiful spaces counter to commercial forms still alive and present in the work of so many filmmakers and artists!
The Line of Sight Fellowship is supported by JustFilms | and .
DOMIS (2021) directed by Anna Gustavi is available to watch on the Sentient.Omnibus site. Link in bio!
Domis is about structure and destruction, power and dominance. The piece references classic art forms within film, theater and storytelling. By using form as a structure, ideations draw question to the root of linearity.
Some thoughts from the co-curators on why they selected the film:
Keisha: With its color and Brechtian approach to acting DOMIS conjures a space of the in-between where we can see the accumulation and dissipation of emotion shaped by dreams and the architecture of society. Though not a documentary at all this film gives the imprint of a certain psychic state of the contemporary. Sitting at the meeting point of film and art I find myself going back to DOMIS again and again to bathe in its color and search for more clues.
Carla: I love the theatricality and use of color in Anna’s film. It’s a haunting, intimate, and unnerving piece that I’m very happy to have as part of this year’s Omnibus project!
Keep up to date with our Sentient.Omnibus releases every month by subscribing to our SAF Bulletin newsletter, LINK IN BIO! To learn more about the Sentient.Omnibus program and filmmakers, the Sentient.Omnibus site link is in our bio too.
Announcing… our September Vault screenings are another double program, from influential filmmaker, theorist, and community activist Richard Fung. These two shorts trouble the neat narratives of migration, existence, and sexual presentation of Asians in the Americas by crossing the boundaries of nation-states and experimental video form both. Link in bio.
Presented with the support of !
Dirty Laundry (dir. Richard Fung; 1996; 30 min.)
A fictionalized imagining of a magazine writer’s train trip across Canada parallels an archival exploration of sexuality and its historical legibility in 1800s Chinese Canadian communities.
Sea in the Blood (dir. Richard Fung; 2000; 26 min.)
This personal documentary traces two relationships, two long journeys, and two illnesses in the filmmaker’s life: first with his late sister Nan to diagnose a rare blood disorder, and second with his lover Tim, who has lived with AIDS for 15 years.
Now until September 30! Save the date: Richard Fung is joining us for an IG Live q&a next Thursday, Sept 16, at 4pm ET.
Chloe Lizotte sat down with Amit Desai to talk about his film CROSS EYED for “Reverse Shot”. You can read an excerpt below and check out the full interview on the “Reverse Shot” website.
RS: Thinking about these ideas of form and formlessness, do you feel there are aspects of artmaking that get lost in translation when written about?
AD: One of the first editors who I was seriously thinking about cutting Cross Eyed, she was very interested in all of ephemera, the miscellaneous artifacts that remained from the process. She said, “Amit, everything that is surrounding the film you made is actually going to point directly at it.” That was a big moment for me in getting the aesthetic that you finally see. As always happens with film, I had some terror—the rough cut was awful! It was just so rigid, so untrue, until I let the ephemera in. Like, Amit, look through the books that you kept during your summer. It’s all there, in these weird, scribbled diaries. In a really personal way, I went through the experiences that get lost in translation.
The thing is, it’s a film, so how do you get that in there? After that conversation, I started culling... All of the found footage in the film is newsreel from the exact dates that we shot, from around the world. So, how wide does your lens go? How big of a picture can you take? And how small that can feel…these tiny moments. I knew from the beginning that I wanted to do a behind-the-scenes procedural, that film you’ve seen a million times of the making of a show, but one that really didn’t have a denouement. So when you have that in mind, I think you are always looking for the types of things that you’re talking about. I was looking for an anti-climax, but one that doesn’t point at a climax, because then you’re just playing the same game.
Race to the Bottom (2021), created by Charmaine Lee, is available to watch on the Sentient.Omnibus site. Link in bio!
Check out some performance photos above and come to our Q&A on August 25, 6 PM (ET) with Charmaine Lee to learn more about her process for Race to the Bottom!
Keep up to date with our Sentient.Omnibus releases every month by subscribing to our SAF Bulletin newsletter, LINK IN BIO! To learn more about the Sentient.Omnibus program and filmmakers, the Sentient.Omnibus site link is in our bio too.
Race to the Bottom (2021), created by Charmaine Lee, is available to watch on the Sentient.Omnibus site. Link in bio!
Charmaine Lee performs "Race to the Bottom," a vocal improvisation using microphones, radios, and modular synthesis to reveal an intimate portrait of Lee's polyphonic sensibilities. Credits are to myself.
Some thoughts from the co-curators on why they selected the film:
Keisha: When I first heard Charmaine's work I was mezzzzzmerized and converted! Part of Omnibus' push is to think about what film actually is and can be. We can "listen" to films! This is what Charmaine's work shows us.
Carla: Charmaine’s work is a true exercise in imagination and openness. I’m constantly delighted by the visual nature of her sonic pieces and this one, Race to the Bottom, is no exception.
Keep up to date with our Sentient.Omnibus releases every month by subscribing to our SAF Bulletin newsletter, LINK IN BIO! To learn more about the Sentient.Omnibus program and filmmakers, the Sentient.Omnibus site link is in our bio too.
We’ve been teasing this for the past few months… applications open now until July 21st. Spread the word! Link in bio.
Join us for an Instagram Live Q&A with Maegan Houang on July 5, 12 PM ET!
Our June Omnibus filmmaker will be discussing her film (In Full Bloom) (playing on the Sentient.Omnibus website now, link in bio) with Keisha Knight, Sentient.Art.Film director.
Sentient Bulletin 006 comes out tomorrow and our theme is around work 💪🏾
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What does it mean to work, how do we make space for being our full selves in it, and when do we feel our best when working? ✨
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We are very excited to share with you an Interview with on This Work Isn't for Us, an introduction to , co-Founder of , a digital storytelling collective, and as always updates in our world over here at Sentient. Link in bio to Subscribe! 💞
In Full Bloom (2019) directed by Maegan Houang is available to watch on the Sentient.Omnibus site. Link in bio!
In Full Bloom cuts a deep narrative about a Vietnamese immigrant overcoming the loss of her partner. After her husband’s death, Cecile becomes an agoraphobic hoarder, paradoxically practicing what she loves — gardening — indoors without the help of direct sunlight. She orders mysterious worms to grow a rare flower. Though they help the flower to grow, the worms activate a growing black hole that absorbs everything she holds dear. With her home unrecognizably empty, Cecile has no choice but to leave for the first time since her husband has died and re-assimilate into society.
Through a fantastical lens, Houang poses the question: Can a person ever truly overcome losing someone they love? As such, the film explores coping after the death of a partner, which often leads to unresolved trauma and severe mental illness. Houang’s perceptive approach sheds light on the unique circumstances that affect Vietnamese Americans, particularly older individuals within the community.
Check out the behind the scenes photos above and come to our Q&A with Maegan Houang to learn more about her process for In Full Bloom!
Keep up to date with our Sentient.Omnibus releases every month by subscribing to our SAF Bulletin newsletter, LINK IN BIO! To learn more about the Sentient.Omnibus program and filmmakers, the Sentient.Omnibus site link is in our bio too.
Director of our June Vault films Voices of the Morning (1992) and It is a Crime (1996), Meena Nanji , is having a Q&A on our IG live this Thursday, June 24 at 7PM EST/4PM PST. Don’t miss it!
Excerpt from Voices of the Morning:
“looking at her hand
she reads the lines inscribed
on her palms
the lines of fate
which contain her destiny
which is also her history
being written by the present.
Could it be
that it is her fate
to re-inscribe her fate?
Could it be
that it is her destiny
to re-write her destiny?”
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SESSÃO BRUTA (RAW SESSION) by @talavistas @ela.ltda hits NYC tonight at @spectaclenyc alongside ANHELL69 🤍
Catch the premiere of SESSÃO BRUTA (RAW SESSION) alongside ANHELL69 this June at @spectaclenyc and @lumierecinemala 🕯️ — SESSÃO BRUTA (RAW SESSION) (dir. As Talavistas and ela.ltda, 2022, Brazil) Shot with a Mini-DV camera without major preparations but with a great deal of sweat and beer, RAW SESSION presents itself as a succession of prologues of a film always yet to be made. RAW SESSION was originally shot in 2018 and edited three years later. Between the capture of the images and the recording of its audio is a gap that comprised both the covid-19 pandemic and a good part of the Bolsonaro government. What began as pre-production research (for a work that never materialized) instead reveals the heart of a process that constantly returns to its point of origin. ANHELL69 (dir. Theo Montoya, 2022, Colombia, Romania, France, Germany) A funeral car cruises the streets of Medellín as a young director tells the story of his past and recalls the pre-production of his first film, a B-Movie with ghosts. As a docufiction “trans film”, in the words of the director, Anhell69 explores the dreams, doubts and fears of an annihilated generation. #sessãobruta #astalavistas #anhell69 #anhell69movie #rawsession #sessãobrutafilme
This Thursday, the day after the Q&A with Jovan for the Omnibus, join us for a conversation with Spencer Nakasako and Vincent DiGirolamo on their first film, Monterey’s Boat People (1982). The short is currently playing as the October spotlight in the Vault, the series of free shorts for My Sight is Lined with Visions (link in bio). The video is a short excerpt about the surprising linkages between different Asian countries and fishing industry in the US. As the fall of Kabul visually and politically mirrors the fall of Saigon in so many ways, this film is worth revisiting for its interrogation of anti-refugee and anti-Asian actions, as well as how media attention and documentary film/video gold rush for access affected the filmmakers and the local communities they were filming. Thursday, October 28 7PM ET/4PM PT @sentient.art.film
DOMIS (2021) directed by Anna Gustavi is available to watch on the Sentient.Omnibus site. Link in bio! Domis is about structure and destruction, power and dominance. The piece references classic art forms within film, theater and storytelling. By using form as a structure, ideations draw question to the root of linearity. Some thoughts from the co-curators on why they selected the film: Keisha: With its color and Brechtian approach to acting DOMIS conjures a space of the in-between where we can see the accumulation and dissipation of emotion shaped by dreams and the architecture of society. Though not a documentary at all this film gives the imprint of a certain psychic state of the contemporary. Sitting at the meeting point of film and art I find myself going back to DOMIS again and again to bathe in its color and search for more clues. Carla: I love the theatricality and use of color in Anna’s film. It’s a haunting, intimate, and unnerving piece that I’m very happy to have as part of this year’s Omnibus project! Keep up to date with our Sentient.Omnibus releases every month by subscribing to our SAF Bulletin newsletter, LINK IN BIO! To learn more about the Sentient.Omnibus program and filmmakers, the Sentient.Omnibus site link is in our bio too.
Race to the Bottom (2021), created by Charmaine Lee, is available to watch on the Sentient.Omnibus site. Link in bio! Charmaine Lee performs "Race to the Bottom," a vocal improvisation using microphones, radios, and modular synthesis to reveal an intimate portrait of Lee's polyphonic sensibilities. Credits are to myself. Some thoughts from the co-curators on why they selected the film: Keisha: When I first heard Charmaine's work I was mezzzzzmerized and converted! Part of Omnibus' push is to think about what film actually is and can be. We can "listen" to films! This is what Charmaine's work shows us. Carla: Charmaine’s work is a true exercise in imagination and openness. I’m constantly delighted by the visual nature of her sonic pieces and this one, Race to the Bottom, is no exception. Keep up to date with our Sentient.Omnibus releases every month by subscribing to our SAF Bulletin newsletter, LINK IN BIO! To learn more about the Sentient.Omnibus program and filmmakers, the Sentient.Omnibus site link is in our bio too.
Race to the Bottom (2021), created by Charmaine Lee, is available to watch on the Sentient.Omnibus site. Link in bio! Charmaine Lee performs "Race to the Bottom," a vocal improvisation using microphones, radios, and modular synthesis to reveal an intimate portrait of Lee's polyphonic sensibilities. Credits are to myself. Some thoughts from the co-curators on why they selected the film: Keisha: When I first heard Charmaine's work I was mezzzzzmerized and converted! Part of Omnibus' push is to think about what film actually is and can be. We can "listen" to films! This is what Charmaine's work shows us. Carla: Charmaine’s work is a true exercise in imagination and openness. I’m constantly delighted by the visual nature of her sonic pieces and this one, Race to the Bottom, is no exception. Keep up to date with our Sentient.Omnibus releases every month by subscribing to our SAF Bulletin newsletter, LINK IN BIO! To learn more about the Sentient.Omnibus program and filmmakers, the Sentient.Omnibus site link is in our bio too.
Director of our June Vault films Voices of the Morning (1992) and It is a Crime (1996), Meena Nanji , is having a Q&A on our IG live this Thursday, June 24 at 7PM EST/4PM PST. Don’t miss it! Excerpt from Voices of the Morning: “looking at her hand she reads the lines inscribed on her palms the lines of fate which contain her destiny which is also her history being written by the present. . Could it be that it is her fate to re-inscribe her fate? Could it be that it is her destiny to re-write her destiny?”
In Full Bloom (2019) directed by Maegan Houang is available to watch on the Sentient.Omnibus site. Link in bio! In Full Bloom cuts a deep narrative about a Vietnamese immigrant overcoming the loss of her partner. After her husband’s death, Cecile becomes an agoraphobic hoarder, paradoxically practicing what she loves — gardening — indoors without the help of direct sunlight. She orders mysterious worms to grow a rare flower. Though they help the flower to grow, the worms activate a growing black hole that absorbs everything she holds dear. With her home unrecognizably empty, Cecile has no choice but to leave for the first time since her husband has died and re-assimilate into society. Some thoughts from the co-curators on why they selected the film: Keisha: In Full Bloom’s incredible production design, acting, and directorial vision make it a joy to watch! I also really love worms, especially when they are as cute as the ones in this film. The weave between the psychic, the material, and cinematic carried me away. Carla: Maegan Houang’s In Full Bloom is an intense and visceral portrayal of grief that I think activates the full imagination of the viewer. I love this piece because Houang really leans into what the medium of film is solely capable of doing...and the surrealism, the fantasy of it all, cuts much deeper to a universal experience in a distinctly unique, personal, and expansive way. Caroline: In Full Bloom resonates with anyone that has dealt with some form of grief. It balances vulnerability, with a bit of whimsy, and out of this worldness. Keep up to date with our Sentient.Omnibus releases every month by subscribing to our SAF Bulletin newsletter, LINK IN BIO! To learn more about the Sentient.Omnibus program and filmmakers, the Sentient.Omnibus site link is in our bio too.
In Full Bloom (2019) directed by Maegan Houang is available to watch on the Sentient.Omnibus site. Link in bio! In Full Bloom cuts a deep narrative about a Vietnamese immigrant overcoming the loss of her partner. After her husband’s death, Cecile becomes an agoraphobic hoarder, paradoxically practicing what she loves — gardening — indoors without the help of direct sunlight. She orders mysterious worms to grow a rare flower. Though they help the flower to grow, the worms activate a growing black hole that absorbs everything she holds dear. With her home unrecognizably empty, Cecile has no choice but to leave for the first time since her husband has died and re-assimilate into society. Some thoughts from the co-curators on why they selected the film: Keisha: In Full Bloom’s incredible production design, acting, and directorial vision make it a joy to watch! I also really love worms, especially when they are as cute as the ones in this film. The weave between the psychic, the material, and cinematic carried me away. Carla: Maegan Houang’s In Full Bloom is an intense and visceral portrayal of grief that I think activates the full imagination of the viewer. I love this piece because Houang really leans into what the medium of film is solely capable of doing...and the surrealism, the fantasy of it all, cuts much deeper to a universal experience in a distinctly unique, personal, and expansive way. Caroline: In Full Bloom resonates with anyone that has dealt with some form of grief. It balances vulnerability, with a bit of whimsy, and out of this worldness. Keep up to date with our Sentient.Omnibus releases every month by subscribing to our SAF Bulletin newsletter, LINK IN BIO! To learn more about the Sentient.Omnibus program and filmmakers, the Sentient.Omnibus site link is in our bio too.
Please join us on July 24th at 6:30pm for a special screening of Cross Eyed (2021) Dir. Amit Desai. This film is near and dear to our hearts us and is screening as part of the First Look festival. Big THANK YOU to the inspiring team at MOMI for selecting this film for its World Premiere. We'll see you all there! (ticketing link in bio)
La Negresse blanche (2020) directed by Asia Stewart and with videography by Jasi Lampkin, is available to watch on the Sentient.Omnibus site. Link in bio! Filmed over the course of a six-hour performance, La Négresse blanche illustrates the epidermalization of whiteness on a Black body. Some thoughts from the co-curators on why they selected the film: Keisha: La Negress Blanche is tactile, smart, and courageous! Carla: I love what Asia and Jasi have done with La Negresse Blanche. It’s a piece that is quite visceral and that feels very tactile...the peeling of the glue, the slow methodical movement, and the exhibition format of looping two versions of the performance are an exercise in patience and excruciation that cuts through to a physical experience for the viewer. Caroline: I love how La Négresse blanche is an almost meditative performance that deals with whiteness in a literal way that becomes a visceral experience of dripping glue, ripping skin, and shedding whiteness. Keep up to date with our Sentient.Omnibus releases every month by subscribing to our SAF Bulletin newsletter, LINK IN BIO! To learn more about the Sentient.Omnibus program and filmmakers, the Sentient.Omnibus site link is in our bio too.
In the Blanks (2016) directed by Hee Young Pyun and Oscar Zhang, is available to watch on the Sentient.Omnibus site, link in bio to watch! In the Blanks focuses on daily places in relation to how we all have our own stories and memories in places such as a bedroom, bathroom, restaurant, or subway. Some thoughts from the co-curators on why they selected the film: Keisha: "I am a big fan of Oscar and Hee's work. I love the discipline of this film and the way that over the course of the piece we get so attached to these disembodied voices. We feel like we know them and that we care about them. The film expands into such a large feeling for me and pierces the ephemerality of the here and now." Carla: "This film is an incredibly intimate piece. I love the way we feel the stakes of the film's relationship so much more intensely due to its juxtaposition with unusually + hauntingly empty public places. In the Blanks feels even more achingly relevant in the midst of a pandemic where most of our public spaces lie abandoned and waiting." Caroline: "In the Blanks makes you wonder why do I love this feeling of eavesdropping? Is this a documentary or is it all scripted? Can it be both? Am I third-wheeling right now?" Keep up to date with our Sentient.Omnibus releases every month by subscribing to our SAF Bulletin newsletter, LINK IN BIO! To learn more about the Sentient.Omnibus program and filmmakers, the Sentient.Omnibus site link is in our bio too.
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