Marvelous Movie Mondays: After Hours

EPFC | March 11th, 2019

guest curator: Ariel Kavoussi

The theme for this month: “WHAT’S THE BODY GOT TO DO WITH IT?” This March, I will be selecting short film & video work that explore questions of the body.

For my second film in this series, I’ve chosen a very early short film by Jane Campion called “After Hours” (not to be confused with Martin Scorsese’s film “After Hours” which came out a year later).

Developed in partnership by Women’s Film Unit of Film Australia in 1984, “After Hours” tracks the investigation of a young woman’s sexual harassment charges against her manager.

Because it was a work-for-hire, Campion had felt she had less creative control than she would like to have had on this short and subsequently, she has come to have been highly dismissive of the project. She once told an interviewer: “I don’t like ‘After Hours’ a lot because I feel like the reasons for making it were impure. I felt a conflict between the project and my artistic conscience. [Because of funding] The film … had to be openly feminist since it spoke about the sexual abuse of women at work. I wasn’t comfortable because I don’t like films that say how one should or shouldn’t behave. I think that the world is more complicated than that. I prefer watching people, studying their behaviour without blaming them. I would have preferred to have put this film in a closet.”

While not as on-point or nearly as compelling as Campion’s later work, I think the film embodies more nuance and beauty than Campion gives it credit for. As film critic Ben Kooyman wrote concerning the film in “Senses Of Cinema” : “ After Hours conveys Campion’s patented sense of tactility – of fabrics, of objects, of the surface of water, and so on..” Laurie McInnes’s camera work is graceful and distinct (with additional cinematography by Campion herself).

And it’s much less didactic than I think Campion believes. Why exactly does Campion show another couple (a boss in a consensual relationship with his secretary) if not to introduce subtleties into this story? Why does the boss have such a sympathetic character qualification (he is a dog trainer and finds solace in animals) if he is to only play villain?

There are Easter Eggs of nuance, beauty and observation all over this incredibly human film.

Please enjoy Jane Campion’s most overlooked work – “After Hours”!


Marvelous Movie Mondays: Skin

EPFC | March 5th, 2019

guest curator: Ariel Kavoussi

The theme for this month: “WHAT’S THE BODY GOT TO DO WITH IT?”

Is the ‘body’ a source for resistance? Or is it a tool used to control? Which ‘bodies’ matter most? Which matter least? How does society imbue certain ‘bodies’ with greater or lesser power relative to others? Can anything be done to disrupt these disparities?

To start this series off with a bang I’ve chosen “Skin” (1995), written by Sarah Kane and directed by Vincent O’Connell. This British short premiered at the London Film Festival and was later given its television debut on Channel 4. It stars the brilliant Ewen Bremmer (TRAINSPOTTING, JULIEN-DONKEY BOY) and Marcia Rose. In “Skin,” Bremmer, playing a violent skinhead, comes into contact with a black woman (Rose) who lives across the street.

In the 90s Sarah Kane came to be recognized as a brilliant, intense, but highly controversial playwright. She died tragically early, a victim of suicide at 28 – we can only wonder what else she would have produced given more time on this planet.

Kane created work known for being difficult to stage and “Skin” is no different. Cheers to director Vincent O’Connell for what he accomplished in this film.

“Skin,” made in the UK over 24 years ago, could not be more relevant to what’s happening in America today. I hesitate to talk about this film too in depth for fear of giving anything away, but if you were one of the folks who was not crazy about GREEN BOOK winning best film this year at the Oscars you’ll want to watch this one.

Fun Fact: During the making of this short film Marcia Rose and Ewen Bremner fell in love, had a baby together, and are still married to this day! (Although you might not want to think of that while you’re watching… )

Enjoy “Skin”!


Marvelous Movie Mondays January Guest Curator Leah Shore!

EPFC | January 3rd, 2019

Hello 2019 and hello January!! New month means a new guest curator for MARVELOUS MOVIE MONDAYS, our weekly online-only screening series where we welcome a new artist each month to spin flicks on the EPFC Facebook page each Monday. This month, we’re super excited to welcome…


Leah has been fortunate to have her films shown internationally at film festivals, museums and galleries. She was named one of Filmmaker Magazines “25 New Faces in Indie Film…”, and has been written about in publications from VICE, The Atlantic, The Wall Street Journal, Nowness, Indiewire, etc. Her film, OLD MAN is currently on The Criterion Collection playing before the film Easy Rider. She aspires to make a feature and perhaps one day even have an episodic show.

And now, time to check out Leah’s film “HALLWAY”:

Beast of Stray

EPFC | December 24th, 2018

guest curator: Brina Thurston

theme: Queen of the Trap

Beast of Stray short
trailer for the full film

My sister and I have worked together since she showed up at my house in 1980. This was her MFA thesis at Cal Arts in 2010. Her movies are always crazy epic tales existing in only worlds she can make-up. She pulled a short out of the longer version, here the main character and some stray women find themselves in an abandoned water tower for a more than unusual experience. This film felt very close the the Agnes Varda film I have also chosen for this series where the character is trying to escape the world we know only to be constantly beaten down by it.

Marvelous Movie Mondays: Filial Piety – Parents and Kids

EPFC | November 21st, 2018

guest curator: georgia fu

Theme: “Filial Piety – Parents and Kids”

This was a short that I found on The Atlantic recently about a “psychic’s tragic predicting coming true”. The loss of a parent is probably one of the most devastating things that can happen to a family, but what I found touching about this piece is that it’s essentially feels like a son trying to connect with his mother, through their shared tragedies, in a short film.

View film here!