Flashback Friday Flyer

EPFC | June 22nd, 2018

On May 22, 2016 I was part of the screening of “Sunset and Alvarado”. Our film was inspired by the original “Sunset and Alvarado” that was filmed in 2002. Students revisited the home of the Echo Park Film Center and learned about the establishments and the changes going on at the time. So much has changed!!!!! But looking at the flyer of the 2002 screening brings me joy to know that laughter, love, and food will always be staples of our youth screenings.

–Gemma Jimenez

The Road To Magnasanti

EPFC | May 22nd, 2018

guest curator: LJ Frezza

Just as all movies end, we will all end, and even this planet will end. What will come after is unknowable. But before all that, I’ll be posting videos that address progress, eschatology, and other terminal points.

This week, we’ll continue to explore the end, and in particular, the end of New York, with THE ROAD TO MAGNASANTI. Named for the most perfect game of Sim City ever played, in which all urban space was optimized for maximum population density, THE ROAD TO MAGNASANTI shows an old city is demolished to make room for luxury developments. Through a collage of wandering street-videography and a rambling yet insightful voice-over, director John Wilson explores hyper-gentrification, the police state, and the comedic absurdity of the city, questioning why the old New York has to end and just who this New New York is being built for.

THE ROAD TO MAGNASANTI (John Wilson, 2017)

EPFC Extravaganza / Acid-Free at Blum & Poe

EPFC | April 30th, 2018
Sunday, May 6 from 3-7 pm
Echo Park Film Center Extravaganza @ Acid-Free Los Angeles
Join us for a special screening looking at works from Echo Park Film Center’s LA AIR residency program, annual Super 8 commissioning program, and from members of the EPFC Co-op, including: Nesanet Abegaze, ACT-LA, Jonathan Almaraz, Basma Alsharif, Dicky Bahto, Leah Bordenga, Marco Kane Braunschweiler, Ursula Brookbank, Madison Brookshire, Kate Brown, Emett Casey, Brenda Contreras, Michael Cruickshank, Caitlin Díaz, Marcella Ernest, Calvin Frederick, The Here & Now (Paolo Davanzo & Lisa Marr), Lydia Hwang, Gelare Khoshgozaran, Andrew Kim, Eve LaFountain, Kate Lain, Alima Lee, Janis Crystal Lipzin, Alex MacKenzie, Maria Magnusson, Gregory Mahoney, Andrés Mansisdor, Daniel Marlos, Dolissa Medina, Alan Nakagawa, Tomonari Nishikawa, Will O’Loughlen, John Palmer, Alee Peoples & Mike Stoltz, Anna Luisa Petrisko (Jeepneys), Miko Revereza, Wyatt Sanders, Jennifer Saparzadeh, Margie Schnibbe, Cosmo Segurson, Rosario Sotelo, Travis Starks, Patrick Stephenson, Cindy Stillwell, Jessica Storm, Haruko Tanaka, Nancy Jean Tucker, Nicole Ucedo, Penelope Uribe-Abee, Pablo Valencia, and Max Winter.
Acid-Free Los Angeles

Art Book Market

at Blum & Poe
2727 La Cienaga Blvd.


EPFC | April 30th, 2018

EPFC is in Uruguay for Montevideo Cine Experimental! Besides the 17th edition of The Sound We See, we’ll be working on a very special project with FAC entitled BLOW UP… It’s gonna be a blast! Find out all about the festival and the projects here!

Projects made possible with the generous support of The Canada Council for the Arts and The Foundation for Contemporary Arts.



Marvelous Movie Mondays: Portrait of Turner

EPFC | April 30th, 2018

guest curator: Kiki Loveday

April showers bring QUEER REPRODUCTION.

A significant body of contemporary feminist work explores questions of adaptation, reiteration, and change through formal, temporal, and aesthetic means. Queer and feminist makers are re-writing the historical narrative while pushing the boundaries of multiple mediums. From Laleen Jayamanne’s A Song of Ceylon, Cecelia Condit’s Oh, Rapunzel, and Midi Onodera’s Ten Cents a Dance, to Elisabeth Subrin’s Shulie, Jennifer Montgomery’s Deliver, Amy Ruhl’s How Mata Hari Lost Her Head and Found Her Body, and Pauline Boudry/Renate Lorenz’s Salomania, to Ja’tovia Gary’s An Ecstatic Experience, Christina Corfield’s Petticoat Nation, Kate Lain’s friskies paté (for joyce wieland) and Irene Lusztig’s Yours in Sisterhood— these makers masterfully reiterate, reinscribe, and reimagine the past in order to transform the present. Every Monday this month I will post a video exploring this growing body of work that queerly questions the possibilities of re-production in the digital age.

Irene Gustafson’s 2009 55 minute video Portrait of Turner re-stages Shirley Clark’s challenging 1967 classic Portrait of Jason. In Gustafson’s experiment, her camera is turned upon performance artist Scott Turner Schofield, raising a series of questions about the nature of performance, experiment, and repetition. This obscure gem formally connects contemporary queer video practice to feminist film histories, insisting on comparison and re-vision that demands continued debate.