Special Screenings
Portrait of a Young Girl at the End of the 60s in Brussels (1994)
Chantal Akerman · 60m · DCP
The film follows the travails of Michèle, the titular "young girl," as she roams the streets of Brussels. Melancholic and a bit rebellious, she meets draft dodger Paul at the cinema and forms a clumsy connection, even as it becomes clear her true loyalties may lie elsewhere. Akerman’s quasi-autobiographical drama captures the uncertainties of youth as characters eagerly anticipate the future amidst political turbulence in 1968.
Courtesy CINEMATEK / Fondation Chantal Akerman.
Saturday, January 31 4:00 PM
Untime (annihilate this week) (2026)
Cameron Worden · ~45m · 35mm slides
A multi-image work made for several 35mm slide projectors with no shutter or intermittent, operated in real time and accompanied by live music, Untime attempts to upend the rigid linearity of cinematic time, a sideways progression of concurrent images splayed across multiple slide carousels, blipping ad infinitum.
Sunday, February 22 7:00 PM
Mansfield K. / Un vent léger dans le feuillage / Study for Three Streams / bleared eyes of blue glass / tendril and spray / Wasserspiel I / Ausblicke I + II / Klinik (1988 / 1994 / 2024 / 2023 / 2023 / 1997 / 1990 / 2001)
Martine Rousset / Martine Rousset / Park Kyujae / Park Kyujae / Park Kyujae / Milena Gierke / Milena Gierke / Milena Gierke · 20m / 3m / 5m / 9m / 2m / 3m / 3m / 6m · 16mm / 16mm / 16mm / rest digital
A collection of films from French filmmaker Martine Rousset, Korean filmmaker Park Kyujae, and German filmmaker Milena Gierke, concerning images, text, light, water, sky, land, self, and intimate perception.
Sunday, March 1 7:00 PM
a pure portion of anxiety - films by Chae Yu (2023-2026)
Chae Yu · ~60m ·
Wedged between impossible tenses, Chicago-based Korean filmmaker Chae Yu gathers fragments without refining them, sustaining the tension between making film and being within it. Like the training sequences in her new work, she follows force rather than resisting it, letting roles collapse and bodies tremble. Her films propose that to stop dreaming is the real loss, inviting encounters with liberation and constraint, held within single frames.
Screening titles TBA
