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MCFF is ✨ecstatic✨to announce filmmaker Pablo Álvarez-Mesa as one of our 2026 Chrysalis Fellows. This fellowship supports the completion of the final chapter of Álvarez-Mesa’s celebrated filmic investigations tracing Simón Bolívar’s footsteps during his 1819 liberation campaign across Colombia, and the movement’s lingering presence in human and natural landscapes more than two centuries later. The first two chapters, Bicentenario (2020) and La Laguna del Soldado (2024), provide poetic and unsettling meditations on history as séance, landscape as witness, and liberation as an unfinished project in this historically contested territory. 

The release of the final segment will be an event! Follow along as one of the most striking voices in contemporary Canadian and South American cinema closes in on his significant study of “El Libertador” and the centuries that follow. @palvarezmesa

Pablo Álvarez-Mesa is a filmmaker and cinematographer born in Medellín in 1980. His work is motivated by a long-standing interest in “structures of social control, especially soft power, which is a profound way through which societies and individuals relate and integrate ideologies and positions.” His work has been widely exhibited at venues internationally, including The Museum of Modern Art, Anthology Film Archives, FICUNAM, IFF Rotterdam, Hot Docs, NYFF, Arsenal, Open City Documentary Festival, and L’Alternativa Festival de Cinema Independent de Barcelona. Álvarez-Mesa is the recipient of awards from Sundance Documentary Film Program, Visions du Réel, Punto de Vista Festival, and Banff Centre for the Arts. He is an affiliate member of the Centre for Oral History and Digital Storytelling at Concordia University, and an alumnus of the Canadian Film Centre. 

MCFF’s Chrysalis Fellowship champions artists and filmmakers from Canada and around the world. We support adventurous moving image artists in the creation, dissemination and exhibition of new works.  

Images courtesy the artist © Pablo Álvarez-Mesa. Portrait credit: Oscar Fernandez Orengo

MCFF is ✨ecstatic✨to announce filmmaker Pablo Álvarez-Mesa as one of our 2026 Chrysalis Fellows. This fellowship supports the completion of the final chapter of Álvarez-Mesa’s celebrated filmic investigations tracing Simón Bolívar’s footsteps during his 1819 liberation campaign across Colombia, and the movement’s lingering presence in human and natural landscapes more than two centuries later. The first two chapters, Bicentenario (2020) and La Laguna del Soldado (2024), provide poetic and unsettling meditations on history as séance, landscape as witness, and liberation as an unfinished project in this historically contested territory. 

The release of the final segment will be an event! Follow along as one of the most striking voices in contemporary Canadian and South American cinema closes in on his significant study of “El Libertador” and the centuries that follow. @palvarezmesa

Pablo Álvarez-Mesa is a filmmaker and cinematographer born in Medellín in 1980. His work is motivated by a long-standing interest in “structures of social control, especially soft power, which is a profound way through which societies and individuals relate and integrate ideologies and positions.” His work has been widely exhibited at venues internationally, including The Museum of Modern Art, Anthology Film Archives, FICUNAM, IFF Rotterdam, Hot Docs, NYFF, Arsenal, Open City Documentary Festival, and L’Alternativa Festival de Cinema Independent de Barcelona. Álvarez-Mesa is the recipient of awards from Sundance Documentary Film Program, Visions du Réel, Punto de Vista Festival, and Banff Centre for the Arts. He is an affiliate member of the Centre for Oral History and Digital Storytelling at Concordia University, and an alumnus of the Canadian Film Centre. 

MCFF’s Chrysalis Fellowship champions artists and filmmakers from Canada and around the world. We support adventurous moving image artists in the creation, dissemination and exhibition of new works.  

Images courtesy the artist © Pablo Álvarez-Mesa. Portrait credit: Oscar Fernandez Orengo

MCFF is ✨ecstatic✨to announce filmmaker Pablo Álvarez-Mesa as one of our 2026 Chrysalis Fellows. This fellowship supports the completion of the final chapter of Álvarez-Mesa’s celebrated filmic investigations tracing Simón Bolívar’s footsteps during his 1819 liberation campaign across Colombia, and the movement’s lingering presence in human and natural landscapes more than two centuries later. The first two chapters, Bicentenario (2020) and La Laguna del Soldado (2024), provide poetic and unsettling meditations on history as séance, landscape as witness, and liberation as an unfinished project in this historically contested territory. 

The release of the final segment will be an event! Follow along as one of the most striking voices in contemporary Canadian and South American cinema closes in on his significant study of “El Libertador” and the centuries that follow. @palvarezmesa

Pablo Álvarez-Mesa is a filmmaker and cinematographer born in Medellín in 1980. His work is motivated by a long-standing interest in “structures of social control, especially soft power, which is a profound way through which societies and individuals relate and integrate ideologies and positions.” His work has been widely exhibited at venues internationally, including The Museum of Modern Art, Anthology Film Archives, FICUNAM, IFF Rotterdam, Hot Docs, NYFF, Arsenal, Open City Documentary Festival, and L’Alternativa Festival de Cinema Independent de Barcelona. Álvarez-Mesa is the recipient of awards from Sundance Documentary Film Program, Visions du Réel, Punto de Vista Festival, and Banff Centre for the Arts. He is an affiliate member of the Centre for Oral History and Digital Storytelling at Concordia University, and an alumnus of the Canadian Film Centre. 

MCFF’s Chrysalis Fellowship champions artists and filmmakers from Canada and around the world. We support adventurous moving image artists in the creation, dissemination and exhibition of new works.  

Images courtesy the artist © Pablo Álvarez-Mesa. Portrait credit: Oscar Fernandez Orengo

MCFF is ✨ecstatic✨to announce filmmaker Pablo Álvarez-Mesa as one of our 2026 Chrysalis Fellows. This fellowship supports the completion of the final chapter of Álvarez-Mesa’s celebrated filmic investigations tracing Simón Bolívar’s footsteps during his 1819 liberation campaign across Colombia, and the movement’s lingering presence in human and natural landscapes more than two centuries later. The first two chapters, Bicentenario (2020) and La Laguna del Soldado (2024), provide poetic and unsettling meditations on history as séance, landscape as witness, and liberation as an unfinished project in this historically contested territory. 

The release of the final segment will be an event! Follow along as one of the most striking voices in contemporary Canadian and South American cinema closes in on his significant study of “El Libertador” and the centuries that follow. @palvarezmesa

Pablo Álvarez-Mesa is a filmmaker and cinematographer born in Medellín in 1980. His work is motivated by a long-standing interest in “structures of social control, especially soft power, which is a profound way through which societies and individuals relate and integrate ideologies and positions.” His work has been widely exhibited at venues internationally, including The Museum of Modern Art, Anthology Film Archives, FICUNAM, IFF Rotterdam, Hot Docs, NYFF, Arsenal, Open City Documentary Festival, and L’Alternativa Festival de Cinema Independent de Barcelona. Álvarez-Mesa is the recipient of awards from Sundance Documentary Film Program, Visions du Réel, Punto de Vista Festival, and Banff Centre for the Arts. He is an affiliate member of the Centre for Oral History and Digital Storytelling at Concordia University, and an alumnus of the Canadian Film Centre. 

MCFF’s Chrysalis Fellowship champions artists and filmmakers from Canada and around the world. We support adventurous moving image artists in the creation, dissemination and exhibition of new works.  

Images courtesy the artist © Pablo Álvarez-Mesa. Portrait credit: Oscar Fernandez Orengo

MCFF is ✨ecstatic✨to announce filmmaker Pablo Álvarez-Mesa as one of our 2026 Chrysalis Fellows. This fellowship supports the completion of the final chapter of Álvarez-Mesa’s celebrated filmic investigations tracing Simón Bolívar’s footsteps during his 1819 liberation campaign across Colombia, and the movement’s lingering presence in human and natural landscapes more than two centuries later. The first two chapters, Bicentenario (2020) and La Laguna del Soldado (2024), provide poetic and unsettling meditations on history as séance, landscape as witness, and liberation as an unfinished project in this historically contested territory. 

The release of the final segment will be an event! Follow along as one of the most striking voices in contemporary Canadian and South American cinema closes in on his significant study of “El Libertador” and the centuries that follow. @palvarezmesa

Pablo Álvarez-Mesa is a filmmaker and cinematographer born in Medellín in 1980. His work is motivated by a long-standing interest in “structures of social control, especially soft power, which is a profound way through which societies and individuals relate and integrate ideologies and positions.” His work has been widely exhibited at venues internationally, including The Museum of Modern Art, Anthology Film Archives, FICUNAM, IFF Rotterdam, Hot Docs, NYFF, Arsenal, Open City Documentary Festival, and L’Alternativa Festival de Cinema Independent de Barcelona. Álvarez-Mesa is the recipient of awards from Sundance Documentary Film Program, Visions du Réel, Punto de Vista Festival, and Banff Centre for the Arts. He is an affiliate member of the Centre for Oral History and Digital Storytelling at Concordia University, and an alumnus of the Canadian Film Centre. 

MCFF’s Chrysalis Fellowship champions artists and filmmakers from Canada and around the world. We support adventurous moving image artists in the creation, dissemination and exhibition of new works.  

Images courtesy the artist © Pablo Álvarez-Mesa. Portrait credit: Oscar Fernandez Orengo

MCFF is ✨ecstatic✨to announce filmmaker Pablo Álvarez-Mesa as one of our 2026 Chrysalis Fellows. This fellowship supports the completion of the final chapter of Álvarez-Mesa’s celebrated filmic investigations tracing Simón Bolívar’s footsteps during his 1819 liberation campaign across Colombia, and the movement’s lingering presence in human and natural landscapes more than two centuries later. The first two chapters, Bicentenario (2020) and La Laguna del Soldado (2024), provide poetic and unsettling meditations on history as séance, landscape as witness, and liberation as an unfinished project in this historically contested territory. 

The release of the final segment will be an event! Follow along as one of the most striking voices in contemporary Canadian and South American cinema closes in on his significant study of “El Libertador” and the centuries that follow. @palvarezmesa

Pablo Álvarez-Mesa is a filmmaker and cinematographer born in Medellín in 1980. His work is motivated by a long-standing interest in “structures of social control, especially soft power, which is a profound way through which societies and individuals relate and integrate ideologies and positions.” His work has been widely exhibited at venues internationally, including The Museum of Modern Art, Anthology Film Archives, FICUNAM, IFF Rotterdam, Hot Docs, NYFF, Arsenal, Open City Documentary Festival, and L’Alternativa Festival de Cinema Independent de Barcelona. Álvarez-Mesa is the recipient of awards from Sundance Documentary Film Program, Visions du Réel, Punto de Vista Festival, and Banff Centre for the Arts. He is an affiliate member of the Centre for Oral History and Digital Storytelling at Concordia University, and an alumnus of the Canadian Film Centre. 

MCFF’s Chrysalis Fellowship champions artists and filmmakers from Canada and around the world. We support adventurous moving image artists in the creation, dissemination and exhibition of new works.  

Images courtesy the artist © Pablo Álvarez-Mesa. Portrait credit: Oscar Fernandez Orengo

MCFF is ✨ecstatic✨to announce filmmaker Pablo Álvarez-Mesa as one of our 2026 Chrysalis Fellows. This fellowship supports the completion of the final chapter of Álvarez-Mesa’s celebrated filmic investigations tracing Simón Bolívar’s footsteps during his 1819 liberation campaign across Colombia, and the movement’s lingering presence in human and natural landscapes more than two centuries later. The first two chapters, Bicentenario (2020) and La Laguna del Soldado (2024), provide poetic and unsettling meditations on history as séance, landscape as witness, and liberation as an unfinished project in this historically contested territory. 

The release of the final segment will be an event! Follow along as one of the most striking voices in contemporary Canadian and South American cinema closes in on his significant study of “El Libertador” and the centuries that follow. @palvarezmesa

Pablo Álvarez-Mesa is a filmmaker and cinematographer born in Medellín in 1980. His work is motivated by a long-standing interest in “structures of social control, especially soft power, which is a profound way through which societies and individuals relate and integrate ideologies and positions.” His work has been widely exhibited at venues internationally, including The Museum of Modern Art, Anthology Film Archives, FICUNAM, IFF Rotterdam, Hot Docs, NYFF, Arsenal, Open City Documentary Festival, and L’Alternativa Festival de Cinema Independent de Barcelona. Álvarez-Mesa is the recipient of awards from Sundance Documentary Film Program, Visions du Réel, Punto de Vista Festival, and Banff Centre for the Arts. He is an affiliate member of the Centre for Oral History and Digital Storytelling at Concordia University, and an alumnus of the Canadian Film Centre. 

MCFF’s Chrysalis Fellowship champions artists and filmmakers from Canada and around the world. We support adventurous moving image artists in the creation, dissemination and exhibition of new works.  

Images courtesy the artist © Pablo Álvarez-Mesa. Portrait credit: Oscar Fernandez Orengo

MCFF is ✨ecstatic✨to announce filmmaker Pablo Álvarez-Mesa as one of our 2026 Chrysalis Fellows. This fellowship supports the completion of the final chapter of Álvarez-Mesa’s celebrated filmic investigations tracing Simón Bolívar’s footsteps during his 1819 liberation campaign across Colombia, and the movement’s lingering presence in human and natural landscapes more than two centuries later. The first two chapters, Bicentenario (2020) and La Laguna del Soldado (2024), provide poetic and unsettling meditations on history as séance, landscape as witness, and liberation as an unfinished project in this historically contested territory. 

The release of the final segment will be an event! Follow along as one of the most striking voices in contemporary Canadian and South American cinema closes in on his significant study of “El Libertador” and the centuries that follow. @palvarezmesa

Pablo Álvarez-Mesa is a filmmaker and cinematographer born in Medellín in 1980. His work is motivated by a long-standing interest in “structures of social control, especially soft power, which is a profound way through which societies and individuals relate and integrate ideologies and positions.” His work has been widely exhibited at venues internationally, including The Museum of Modern Art, Anthology Film Archives, FICUNAM, IFF Rotterdam, Hot Docs, NYFF, Arsenal, Open City Documentary Festival, and L’Alternativa Festival de Cinema Independent de Barcelona. Álvarez-Mesa is the recipient of awards from Sundance Documentary Film Program, Visions du Réel, Punto de Vista Festival, and Banff Centre for the Arts. He is an affiliate member of the Centre for Oral History and Digital Storytelling at Concordia University, and an alumnus of the Canadian Film Centre. 

MCFF’s Chrysalis Fellowship champions artists and filmmakers from Canada and around the world. We support adventurous moving image artists in the creation, dissemination and exhibition of new works.  

Images courtesy the artist © Pablo Álvarez-Mesa. Portrait credit: Oscar Fernandez Orengo

MCFF is ✨ecstatic✨to announce filmmaker Pablo Álvarez-Mesa as one of our 2026 Chrysalis Fellows. This fellowship supports the completion of the final chapter of Álvarez-Mesa’s celebrated filmic investigations tracing Simón Bolívar’s footsteps during his 1819 liberation campaign across Colombia, and the movement’s lingering presence in human and natural landscapes more than two centuries later. The first two chapters, Bicentenario (2020) and La Laguna del Soldado (2024), provide poetic and unsettling meditations on history as séance, landscape as witness, and liberation as an unfinished project in this historically contested territory. 

The release of the final segment will be an event! Follow along as one of the most striking voices in contemporary Canadian and South American cinema closes in on his significant study of “El Libertador” and the centuries that follow. @palvarezmesa

Pablo Álvarez-Mesa is a filmmaker and cinematographer born in Medellín in 1980. His work is motivated by a long-standing interest in “structures of social control, especially soft power, which is a profound way through which societies and individuals relate and integrate ideologies and positions.” His work has been widely exhibited at venues internationally, including The Museum of Modern Art, Anthology Film Archives, FICUNAM, IFF Rotterdam, Hot Docs, NYFF, Arsenal, Open City Documentary Festival, and L’Alternativa Festival de Cinema Independent de Barcelona. Álvarez-Mesa is the recipient of awards from Sundance Documentary Film Program, Visions du Réel, Punto de Vista Festival, and Banff Centre for the Arts. He is an affiliate member of the Centre for Oral History and Digital Storytelling at Concordia University, and an alumnus of the Canadian Film Centre. 

MCFF’s Chrysalis Fellowship champions artists and filmmakers from Canada and around the world. We support adventurous moving image artists in the creation, dissemination and exhibition of new works.  

Images courtesy the artist © Pablo Álvarez-Mesa. Portrait credit: Oscar Fernandez Orengo

MCFF is ✨ecstatic✨to announce filmmaker Pablo Álvarez-Mesa as one of our 2026 Chrysalis Fellows. This fellowship supports the completion of the final chapter of Álvarez-Mesa’s celebrated filmic investigations tracing Simón Bolívar’s footsteps during his 1819 liberation campaign across Colombia, and the movement’s lingering presence in human and natural landscapes more than two centuries later. The first two chapters, Bicentenario (2020) and La Laguna del Soldado (2024), provide poetic and unsettling meditations on history as séance, landscape as witness, and liberation as an unfinished project in this historically contested territory. 

The release of the final segment will be an event! Follow along as one of the most striking voices in contemporary Canadian and South American cinema closes in on his significant study of “El Libertador” and the centuries that follow. @palvarezmesa

Pablo Álvarez-Mesa is a filmmaker and cinematographer born in Medellín in 1980. His work is motivated by a long-standing interest in “structures of social control, especially soft power, which is a profound way through which societies and individuals relate and integrate ideologies and positions.” His work has been widely exhibited at venues internationally, including The Museum of Modern Art, Anthology Film Archives, FICUNAM, IFF Rotterdam, Hot Docs, NYFF, Arsenal, Open City Documentary Festival, and L’Alternativa Festival de Cinema Independent de Barcelona. Álvarez-Mesa is the recipient of awards from Sundance Documentary Film Program, Visions du Réel, Punto de Vista Festival, and Banff Centre for the Arts. He is an affiliate member of the Centre for Oral History and Digital Storytelling at Concordia University, and an alumnus of the Canadian Film Centre. 

MCFF’s Chrysalis Fellowship champions artists and filmmakers from Canada and around the world. We support adventurous moving image artists in the creation, dissemination and exhibition of new works.  

Images courtesy the artist © Pablo Álvarez-Mesa. Portrait credit: Oscar Fernandez Orengo

MCFF is ✨ecstatic✨to announce filmmaker Pablo Álvarez-Mesa as one of our 2026 Chrysalis Fellows. This fellowship supports the completion of the final chapter of Álvarez-Mesa’s celebrated filmic investigations tracing Simón Bolívar’s footsteps during his 1819 liberation campaign across Colombia, and the movement’s lingering presence in human and natural landscapes more than two centuries later. The first two chapters, Bicentenario (2020) and La Laguna del Soldado (2024), provide poetic and unsettling meditations on history as séance, landscape as witness, and liberation as an unfinished project in this historically contested territory. 

The release of the final segment will be an event! Follow along as one of the most striking voices in contemporary Canadian and South American cinema closes in on his significant study of “El Libertador” and the centuries that follow. @palvarezmesa

Pablo Álvarez-Mesa is a filmmaker and cinematographer born in Medellín in 1980. His work is motivated by a long-standing interest in “structures of social control, especially soft power, which is a profound way through which societies and individuals relate and integrate ideologies and positions.” His work has been widely exhibited at venues internationally, including The Museum of Modern Art, Anthology Film Archives, FICUNAM, IFF Rotterdam, Hot Docs, NYFF, Arsenal, Open City Documentary Festival, and L’Alternativa Festival de Cinema Independent de Barcelona. Álvarez-Mesa is the recipient of awards from Sundance Documentary Film Program, Visions du Réel, Punto de Vista Festival, and Banff Centre for the Arts. He is an affiliate member of the Centre for Oral History and Digital Storytelling at Concordia University, and an alumnus of the Canadian Film Centre. 

MCFF’s Chrysalis Fellowship champions artists and filmmakers from Canada and around the world. We support adventurous moving image artists in the creation, dissemination and exhibition of new works.  

Images courtesy the artist © Pablo Álvarez-Mesa. Portrait credit: Oscar Fernandez Orengo

MCFF is ✨ecstatic✨to announce filmmaker Pablo Álvarez-Mesa as one of our 2026 Chrysalis Fellows. This fellowship supports the completion of the final chapter of Álvarez-Mesa’s celebrated filmic investigations tracing Simón Bolívar’s footsteps during his 1819 liberation campaign across Colombia, and the movement’s lingering presence in human and natural landscapes more than two centuries later. The first two chapters, Bicentenario (2020) and La Laguna del Soldado (2024), provide poetic and unsettling meditations on history as séance, landscape as witness, and liberation as an unfinished project in this historically contested territory. 

The release of the final segment will be an event! Follow along as one of the most striking voices in contemporary Canadian and South American cinema closes in on his significant study of “El Libertador” and the centuries that follow. @palvarezmesa

Pablo Álvarez-Mesa is a filmmaker and cinematographer born in Medellín in 1980. His work is motivated by a long-standing interest in “structures of social control, especially soft power, which is a profound way through which societies and individuals relate and integrate ideologies and positions.” His work has been widely exhibited at venues internationally, including The Museum of Modern Art, Anthology Film Archives, FICUNAM, IFF Rotterdam, Hot Docs, NYFF, Arsenal, Open City Documentary Festival, and L’Alternativa Festival de Cinema Independent de Barcelona. Álvarez-Mesa is the recipient of awards from Sundance Documentary Film Program, Visions du Réel, Punto de Vista Festival, and Banff Centre for the Arts. He is an affiliate member of the Centre for Oral History and Digital Storytelling at Concordia University, and an alumnus of the Canadian Film Centre. 

MCFF’s Chrysalis Fellowship champions artists and filmmakers from Canada and around the world. We support adventurous moving image artists in the creation, dissemination and exhibition of new works.  

Images courtesy the artist © Pablo Álvarez-Mesa. Portrait credit: Oscar Fernandez Orengo

MCFF is ✨ecstatic✨to announce filmmaker Pablo Álvarez-Mesa as one of our 2026 Chrysalis Fellows. This fellowship supports the completion of the final chapter of Álvarez-Mesa’s celebrated filmic investigations tracing Simón Bolívar’s footsteps during his 1819 liberation campaign across Colombia, and the movement’s lingering presence in human and natural landscapes more than two centuries later. The first two chapters, Bicentenario (2020) and La Laguna del Soldado (2024), provide poetic and unsettling meditations on history as séance, landscape as witness, and liberation as an unfinished project in this historically contested territory. 

The release of the final segment will be an event! Follow along as one of the most striking voices in contemporary Canadian and South American cinema closes in on his significant study of “El Libertador” and the centuries that follow. @palvarezmesa

Pablo Álvarez-Mesa is a filmmaker and cinematographer born in Medellín in 1980. His work is motivated by a long-standing interest in “structures of social control, especially soft power, which is a profound way through which societies and individuals relate and integrate ideologies and positions.” His work has been widely exhibited at venues internationally, including The Museum of Modern Art, Anthology Film Archives, FICUNAM, IFF Rotterdam, Hot Docs, NYFF, Arsenal, Open City Documentary Festival, and L’Alternativa Festival de Cinema Independent de Barcelona. Álvarez-Mesa is the recipient of awards from Sundance Documentary Film Program, Visions du Réel, Punto de Vista Festival, and Banff Centre for the Arts. He is an affiliate member of the Centre for Oral History and Digital Storytelling at Concordia University, and an alumnus of the Canadian Film Centre. 

MCFF’s Chrysalis Fellowship champions artists and filmmakers from Canada and around the world. We support adventurous moving image artists in the creation, dissemination and exhibition of new works.  

Images courtesy the artist © Pablo Álvarez-Mesa. Portrait credit: Oscar Fernandez Orengo

MCFF is ✨ecstatic✨to announce filmmaker Pablo Álvarez-Mesa as one of our 2026 Chrysalis Fellows. This fellowship supports the completion of the final chapter of Álvarez-Mesa’s celebrated filmic investigations tracing Simón Bolívar’s footsteps during his 1819 liberation campaign across Colombia, and the movement’s lingering presence in human and natural landscapes more than two centuries later. The first two chapters, Bicentenario (2020) and La Laguna del Soldado (2024), provide poetic and unsettling meditations on history as séance, landscape as witness, and liberation as an unfinished project in this historically contested territory. 

The release of the final segment will be an event! Follow along as one of the most striking voices in contemporary Canadian and South American cinema closes in on his significant study of “El Libertador” and the centuries that follow. @palvarezmesa

Pablo Álvarez-Mesa is a filmmaker and cinematographer born in Medellín in 1980. His work is motivated by a long-standing interest in “structures of social control, especially soft power, which is a profound way through which societies and individuals relate and integrate ideologies and positions.” His work has been widely exhibited at venues internationally, including The Museum of Modern Art, Anthology Film Archives, FICUNAM, IFF Rotterdam, Hot Docs, NYFF, Arsenal, Open City Documentary Festival, and L’Alternativa Festival de Cinema Independent de Barcelona. Álvarez-Mesa is the recipient of awards from Sundance Documentary Film Program, Visions du Réel, Punto de Vista Festival, and Banff Centre for the Arts. He is an affiliate member of the Centre for Oral History and Digital Storytelling at Concordia University, and an alumnus of the Canadian Film Centre. 

MCFF’s Chrysalis Fellowship champions artists and filmmakers from Canada and around the world. We support adventurous moving image artists in the creation, dissemination and exhibition of new works.  

Images courtesy the artist © Pablo Álvarez-Mesa. Portrait credit: Oscar Fernandez Orengo

MCFF is ✨ecstatic✨to announce filmmaker Pablo Álvarez-Mesa as one of our 2026 Chrysalis Fellows. This fellowship supports the completion of the final chapter of Álvarez-Mesa’s celebrated filmic investigations tracing Simón Bolívar’s footsteps during his 1819 liberation campaign across Colombia, and the movement’s lingering presence in human and natural landscapes more than two centuries later. The first two chapters, Bicentenario (2020) and La Laguna del Soldado (2024), provide poetic and unsettling meditations on history as séance, landscape as witness, and liberation as an unfinished project in this historically contested territory. 

The release of the final segment will be an event! Follow along as one of the most striking voices in contemporary Canadian and South American cinema closes in on his significant study of “El Libertador” and the centuries that follow. @palvarezmesa

Pablo Álvarez-Mesa is a filmmaker and cinematographer born in Medellín in 1980. His work is motivated by a long-standing interest in “structures of social control, especially soft power, which is a profound way through which societies and individuals relate and integrate ideologies and positions.” His work has been widely exhibited at venues internationally, including The Museum of Modern Art, Anthology Film Archives, FICUNAM, IFF Rotterdam, Hot Docs, NYFF, Arsenal, Open City Documentary Festival, and L’Alternativa Festival de Cinema Independent de Barcelona. Álvarez-Mesa is the recipient of awards from Sundance Documentary Film Program, Visions du Réel, Punto de Vista Festival, and Banff Centre for the Arts. He is an affiliate member of the Centre for Oral History and Digital Storytelling at Concordia University, and an alumnus of the Canadian Film Centre. 

MCFF’s Chrysalis Fellowship champions artists and filmmakers from Canada and around the world. We support adventurous moving image artists in the creation, dissemination and exhibition of new works.  

Images courtesy the artist © Pablo Álvarez-Mesa. Portrait credit: Oscar Fernandez Orengo

MCFF is ✨ecstatic✨to announce filmmaker Pablo Álvarez-Mesa as one of our 2026 Chrysalis Fellows. This fellowship supports the completion of the final chapter of Álvarez-Mesa’s celebrated filmic investigations tracing Simón Bolívar’s footsteps during his 1819 liberation campaign across Colombia, and the movement’s lingering presence in human and natural landscapes more than two centuries later. The first two chapters, Bicentenario (2020) and La Laguna del Soldado (2024), provide poetic and unsettling meditations on history as séance, landscape as witness, and liberation as an unfinished project in this historically contested territory. 

The release of the final segment will be an event! Follow along as one of the most striking voices in contemporary Canadian and South American cinema closes in on his significant study of “El Libertador” and the centuries that follow. @palvarezmesa

Pablo Álvarez-Mesa is a filmmaker and cinematographer born in Medellín in 1980. His work is motivated by a long-standing interest in “structures of social control, especially soft power, which is a profound way through which societies and individuals relate and integrate ideologies and positions.” His work has been widely exhibited at venues internationally, including The Museum of Modern Art, Anthology Film Archives, FICUNAM, IFF Rotterdam, Hot Docs, NYFF, Arsenal, Open City Documentary Festival, and L’Alternativa Festival de Cinema Independent de Barcelona. Álvarez-Mesa is the recipient of awards from Sundance Documentary Film Program, Visions du Réel, Punto de Vista Festival, and Banff Centre for the Arts. He is an affiliate member of the Centre for Oral History and Digital Storytelling at Concordia University, and an alumnus of the Canadian Film Centre. 

MCFF’s Chrysalis Fellowship champions artists and filmmakers from Canada and around the world. We support adventurous moving image artists in the creation, dissemination and exhibition of new works.  

Images courtesy the artist © Pablo Álvarez-Mesa. Portrait credit: Oscar Fernandez Orengo

⚡️ECSTATIC⚡️to *finally* announce Media City Film Festival’s 2026 Call for Entries (NOW OPEN) and IN-PERSON FESTIVAL DATES! 

MCFF is over the moon excited to plan another legendary in-person celebration and welcome the global community back to Windsor–Detroit in 2026.🥲Established as the only cross-border film festival in the world in 1994, MCFF is excited to review thousands of new films and organize a world-class event fitting of our organization’s storied history. 🙏

❤️‍🔥 Please share this call widely with artists, filmmakers, friends, and colleagues around the world.

💪 Absolutely no entry fees to submit. All selected artists are paid screening fees. 🌹

MCFF 2026 CALL FOR ENTRIES
(link in bio) ⬅️

⭐️DEADLINE: May 1, 2026.
⭐️28TH EDITION: September 15–19, 2026.

⭐️ABSOLUTELY NO ENTRY FEES.
⭐️SCREENING FEES PAID TO ALL PARTICIPATING ARTISTS.
⭐️ENTRIES ACCEPTED ONLINE.

Films completed in 2024, 2025, and 2026 are eligible. Free and open to artists, filmmakers, distributors, and producers globally. MCFF is world-renowned for its impeccable projection standards. We present works in their original formats (e.g. S8mm, 16mm, 35mm, digital, etc.) FAQ and entry form available on MCFF’s website. 

❤️‍🔥 mediacityfilmfestival.com ❤️‍🔥

In keeping with our mandate of accessibility, all MCFF events remain pay-what-you-like or FREE. 

Image: Jack Smith, Untitled c. 1958–1962. © Jack Smith Archive, Gladstone Gallery, New York and Brussels.

#mediacityfilmfestival #windsor #detroit #callforentries #filmfestival

🔥MAJOR PROGRAM ALERT🔥MCFF’s 27TH VIRTUAL EDITION IS NOW LIVE ❤️‍🔥 Featuring 70+ films, including 50+ virtual world premieres 🌹FREE TO STREAM GLOBALLY🌹

FILMS BY: ★ Kamal Aljafari ★ Ja’Tovia Gary ★ Jocelyne Saab ★ Artavazd Péléchian ★ Harun Farocki ★ Sharon Lockhart  ★ Suneil Sanzgiri ★ Madeleine Hunt-Ehrlich ★ Maryam Tafakory ★ Ana Vaz ★ Beatrice Gibson ★ Narcisa Hirsch ★ Richard Serra ★ Toshio Matsumoto ★ Ute Aurand ★ Pablo Álvarez-Mesa ★ Lawrence Abu Hamdan ★ Mona Hatoum ★ Sky Hopinka ★ Skip Norman ★ Pat O’Neill ★ Christopher Harris ★ Walid Raad ★ Rouzbeh Akhbari ★ Felix Kalmenson ★ Rose Lowder ★ Colectivo Los Ingrávidos ★ Deborah Stratman ★ Siegfried Fruhauf ★ Friedl vom Gröller (Kubelka) ★ Razan AlSalah ★ Ayanna Dozier ★ Mustafa Abu Ali ★ Kevin Jerome Everson ★ Rhayne Vermette ★ Eitan Efrat ★ Sirah Foighel Brutmann ★ Akram Zaatari ★ Simon Liu ★ Ben Rivers ★ Céline Condorelli ★ Luis Arnías ★ Tony Cokes ★ Little Egypt Collective ★ Saif Alsaegh ★ Jonathan Schwartz ★ Morgan Quaintance ★ Helena Girón ★ Samuel Delgado ★ Nour Ouayda ★ Parastoo Anoushahpour ★ Sam Drake ★ Leonardo Pirondi ★ Chris Kennedy ★ Katie Barkel ★ Nik Liguori ★ Joanie Wind ★ dream hampton ★ Scott Northrup ★ Trinity Sutherland ★ Shanna Maurizi ★ bree gant ★ Derek Jenkins ★ Ed Janzen ★ Mitch McCabe ★ Basma Alsharif ★

STREAMING: December 9–30, 2024.
VIEW HERE: mediacityfilmfestival.com

Cinematic treasures by award-winning artists from Windsor-Detroit, Armenia, Colombia, Hong Kong, Palestine, Iran, Brazil, Japan, Lebanon, Iraq, Jordan, and around the world. 

❤️SPECIAL THANKS TO THE ARTISTS, DISTRIBUTORS AND 50+ GLOBAL PARTNERS ❤️STUNNING SITE DEVELOPMENT BY SPELLERBERG ASSOCIATES. 

Video credits. Music: Guilherme Vaz from It Is Night in America, Ana Vaz © the artist. Film extracts: Atman, Toshio Matsumoto courtesy Postwar Japan Moving Image Archive © estate of the artist. Poppies and Sailboats, Rose Lowder courtesy Light Cone © the artist. A Fidai Film, Kamal Aljafari  © the artist. It Is Night in America, Ana Vaz © the artist.

Generously funded by Canada Council for the Arts, Ontario Trillium Foundation, and Ontario Arts Council. 

#mediacityfilmfestival #windsor #detroit

Rest in Peace VALIE EXPORT (May 17, 1940- May 14, 2026). An absolute legend of art and cinema. 🖤🖤🖤🖤🖤🖤🖤🖤🖤🖤🖤🖤🖤

💥AN INCREDIBLE MOMENT FOR CINEMA 💥Cannes 2026 @festivaldecannes presents 5 newly restored films by the great Armenian director ARTAVAZD PELECHIAN. These new restorations will burn brighter than ever and include Land of the People (1966), The Beginning (1967), We (1969), The Inhabitants (1970), and The Seasons (1975). The director attends in person!

The long arc of Pelechian’s career, already legendary in the history of film, now returns in radiant clarity due to the extraordinary efforts of @coproduction_office and film restoration masters @cinetecabologna

Although Pelechian’s films have remained difficult to see, Media City Film Festival has been an enthusiastic champion of his cinema, screening programs of his work in their original 35mm formats and online. In 2017, MCFF curated The Circle of Time: A Tribute to Artavazd Pelechian, in partnership with @tiff_net to launch the book, Artavazd Péléchian: Une symphonie du monde.

The films of Artavazd Pelechian are among the most stunning documentaries of the postwar Soviet era. Key to his filmmaking is his theory of distance montage, in which thematic links are made over the course of a film rather than across direct cuts; as he explained, “Eisenstein’s montage was linear, like a chain. Distance montage creates a magnetic field around the film. It’s like when a light is turned on and light is generated around the lamp. In distance montage, when the two ends are excited, the whole thing glows.”The Circle of Time was composed of three of Pelechian’s most important films, including his masterpiece The Seasons, made in collaboration with the great cinematographer Mikhail Vartanov @vartanovart (a long-time ally of Sergei Parajanov @parajanov ). The Seasons is Pelechian’s supreme celebration of the interrelationship of humanity and the natural world.

Pelechian’s films are indispensable. MCFF encourages EVERYONE to see these restorations as they screen around the world.

In association with Armenian Film Commission, Armenian Public Television, VGIK, Belarusfilm, ZDF / ARTE France, Arma Media Production, Calouste Gulbenkian Foundation, and UGAB France.

💥AN INCREDIBLE MOMENT FOR CINEMA 💥Cannes 2026 @festivaldecannes presents 5 newly restored films by the great Armenian director ARTAVAZD PELECHIAN. These new restorations will burn brighter than ever and include Land of the People (1966), The Beginning (1967), We (1969), The Inhabitants (1970), and The Seasons (1975). The director attends in person!

The long arc of Pelechian’s career, already legendary in the history of film, now returns in radiant clarity due to the extraordinary efforts of @coproduction_office and film restoration masters @cinetecabologna

Although Pelechian’s films have remained difficult to see, Media City Film Festival has been an enthusiastic champion of his cinema, screening programs of his work in their original 35mm formats and online. In 2017, MCFF curated The Circle of Time: A Tribute to Artavazd Pelechian, in partnership with @tiff_net to launch the book, Artavazd Péléchian: Une symphonie du monde.

The films of Artavazd Pelechian are among the most stunning documentaries of the postwar Soviet era. Key to his filmmaking is his theory of distance montage, in which thematic links are made over the course of a film rather than across direct cuts; as he explained, “Eisenstein’s montage was linear, like a chain. Distance montage creates a magnetic field around the film. It’s like when a light is turned on and light is generated around the lamp. In distance montage, when the two ends are excited, the whole thing glows.”The Circle of Time was composed of three of Pelechian’s most important films, including his masterpiece The Seasons, made in collaboration with the great cinematographer Mikhail Vartanov @vartanovart (a long-time ally of Sergei Parajanov @parajanov ). The Seasons is Pelechian’s supreme celebration of the interrelationship of humanity and the natural world.

Pelechian’s films are indispensable. MCFF encourages EVERYONE to see these restorations as they screen around the world.

In association with Armenian Film Commission, Armenian Public Television, VGIK, Belarusfilm, ZDF / ARTE France, Arma Media Production, Calouste Gulbenkian Foundation, and UGAB France.

💥AN INCREDIBLE MOMENT FOR CINEMA 💥Cannes 2026 @festivaldecannes presents 5 newly restored films by the great Armenian director ARTAVAZD PELECHIAN. These new restorations will burn brighter than ever and include Land of the People (1966), The Beginning (1967), We (1969), The Inhabitants (1970), and The Seasons (1975). The director attends in person!

The long arc of Pelechian’s career, already legendary in the history of film, now returns in radiant clarity due to the extraordinary efforts of @coproduction_office and film restoration masters @cinetecabologna

Although Pelechian’s films have remained difficult to see, Media City Film Festival has been an enthusiastic champion of his cinema, screening programs of his work in their original 35mm formats and online. In 2017, MCFF curated The Circle of Time: A Tribute to Artavazd Pelechian, in partnership with @tiff_net to launch the book, Artavazd Péléchian: Une symphonie du monde.

The films of Artavazd Pelechian are among the most stunning documentaries of the postwar Soviet era. Key to his filmmaking is his theory of distance montage, in which thematic links are made over the course of a film rather than across direct cuts; as he explained, “Eisenstein’s montage was linear, like a chain. Distance montage creates a magnetic field around the film. It’s like when a light is turned on and light is generated around the lamp. In distance montage, when the two ends are excited, the whole thing glows.”The Circle of Time was composed of three of Pelechian’s most important films, including his masterpiece The Seasons, made in collaboration with the great cinematographer Mikhail Vartanov @vartanovart (a long-time ally of Sergei Parajanov @parajanov ). The Seasons is Pelechian’s supreme celebration of the interrelationship of humanity and the natural world.

Pelechian’s films are indispensable. MCFF encourages EVERYONE to see these restorations as they screen around the world.

In association with Armenian Film Commission, Armenian Public Television, VGIK, Belarusfilm, ZDF / ARTE France, Arma Media Production, Calouste Gulbenkian Foundation, and UGAB France.

💥AN INCREDIBLE MOMENT FOR CINEMA 💥Cannes 2026 @festivaldecannes presents 5 newly restored films by the great Armenian director ARTAVAZD PELECHIAN. These new restorations will burn brighter than ever and include Land of the People (1966), The Beginning (1967), We (1969), The Inhabitants (1970), and The Seasons (1975). The director attends in person!

The long arc of Pelechian’s career, already legendary in the history of film, now returns in radiant clarity due to the extraordinary efforts of @coproduction_office and film restoration masters @cinetecabologna

Although Pelechian’s films have remained difficult to see, Media City Film Festival has been an enthusiastic champion of his cinema, screening programs of his work in their original 35mm formats and online. In 2017, MCFF curated The Circle of Time: A Tribute to Artavazd Pelechian, in partnership with @tiff_net to launch the book, Artavazd Péléchian: Une symphonie du monde.

The films of Artavazd Pelechian are among the most stunning documentaries of the postwar Soviet era. Key to his filmmaking is his theory of distance montage, in which thematic links are made over the course of a film rather than across direct cuts; as he explained, “Eisenstein’s montage was linear, like a chain. Distance montage creates a magnetic field around the film. It’s like when a light is turned on and light is generated around the lamp. In distance montage, when the two ends are excited, the whole thing glows.”The Circle of Time was composed of three of Pelechian’s most important films, including his masterpiece The Seasons, made in collaboration with the great cinematographer Mikhail Vartanov @vartanovart (a long-time ally of Sergei Parajanov @parajanov ). The Seasons is Pelechian’s supreme celebration of the interrelationship of humanity and the natural world.

Pelechian’s films are indispensable. MCFF encourages EVERYONE to see these restorations as they screen around the world.

In association with Armenian Film Commission, Armenian Public Television, VGIK, Belarusfilm, ZDF / ARTE France, Arma Media Production, Calouste Gulbenkian Foundation, and UGAB France.

💥AN INCREDIBLE MOMENT FOR CINEMA 💥Cannes 2026 @festivaldecannes presents 5 newly restored films by the great Armenian director ARTAVAZD PELECHIAN. These new restorations will burn brighter than ever and include Land of the People (1966), The Beginning (1967), We (1969), The Inhabitants (1970), and The Seasons (1975). The director attends in person!

The long arc of Pelechian’s career, already legendary in the history of film, now returns in radiant clarity due to the extraordinary efforts of @coproduction_office and film restoration masters @cinetecabologna

Although Pelechian’s films have remained difficult to see, Media City Film Festival has been an enthusiastic champion of his cinema, screening programs of his work in their original 35mm formats and online. In 2017, MCFF curated The Circle of Time: A Tribute to Artavazd Pelechian, in partnership with @tiff_net to launch the book, Artavazd Péléchian: Une symphonie du monde.

The films of Artavazd Pelechian are among the most stunning documentaries of the postwar Soviet era. Key to his filmmaking is his theory of distance montage, in which thematic links are made over the course of a film rather than across direct cuts; as he explained, “Eisenstein’s montage was linear, like a chain. Distance montage creates a magnetic field around the film. It’s like when a light is turned on and light is generated around the lamp. In distance montage, when the two ends are excited, the whole thing glows.”The Circle of Time was composed of three of Pelechian’s most important films, including his masterpiece The Seasons, made in collaboration with the great cinematographer Mikhail Vartanov @vartanovart (a long-time ally of Sergei Parajanov @parajanov ). The Seasons is Pelechian’s supreme celebration of the interrelationship of humanity and the natural world.

Pelechian’s films are indispensable. MCFF encourages EVERYONE to see these restorations as they screen around the world.

In association with Armenian Film Commission, Armenian Public Television, VGIK, Belarusfilm, ZDF / ARTE France, Arma Media Production, Calouste Gulbenkian Foundation, and UGAB France.

💥AN INCREDIBLE MOMENT FOR CINEMA 💥Cannes 2026 @festivaldecannes presents 5 newly restored films by the great Armenian director ARTAVAZD PELECHIAN. These new restorations will burn brighter than ever and include Land of the People (1966), The Beginning (1967), We (1969), The Inhabitants (1970), and The Seasons (1975). The director attends in person!

The long arc of Pelechian’s career, already legendary in the history of film, now returns in radiant clarity due to the extraordinary efforts of @coproduction_office and film restoration masters @cinetecabologna

Although Pelechian’s films have remained difficult to see, Media City Film Festival has been an enthusiastic champion of his cinema, screening programs of his work in their original 35mm formats and online. In 2017, MCFF curated The Circle of Time: A Tribute to Artavazd Pelechian, in partnership with @tiff_net to launch the book, Artavazd Péléchian: Une symphonie du monde.

The films of Artavazd Pelechian are among the most stunning documentaries of the postwar Soviet era. Key to his filmmaking is his theory of distance montage, in which thematic links are made over the course of a film rather than across direct cuts; as he explained, “Eisenstein’s montage was linear, like a chain. Distance montage creates a magnetic field around the film. It’s like when a light is turned on and light is generated around the lamp. In distance montage, when the two ends are excited, the whole thing glows.”The Circle of Time was composed of three of Pelechian’s most important films, including his masterpiece The Seasons, made in collaboration with the great cinematographer Mikhail Vartanov @vartanovart (a long-time ally of Sergei Parajanov @parajanov ). The Seasons is Pelechian’s supreme celebration of the interrelationship of humanity and the natural world.

Pelechian’s films are indispensable. MCFF encourages EVERYONE to see these restorations as they screen around the world.

In association with Armenian Film Commission, Armenian Public Television, VGIK, Belarusfilm, ZDF / ARTE France, Arma Media Production, Calouste Gulbenkian Foundation, and UGAB France.

💥AN INCREDIBLE MOMENT FOR CINEMA 💥Cannes 2026 @festivaldecannes presents 5 newly restored films by the great Armenian director ARTAVAZD PELECHIAN. These new restorations will burn brighter than ever and include Land of the People (1966), The Beginning (1967), We (1969), The Inhabitants (1970), and The Seasons (1975). The director attends in person!

The long arc of Pelechian’s career, already legendary in the history of film, now returns in radiant clarity due to the extraordinary efforts of @coproduction_office and film restoration masters @cinetecabologna

Although Pelechian’s films have remained difficult to see, Media City Film Festival has been an enthusiastic champion of his cinema, screening programs of his work in their original 35mm formats and online. In 2017, MCFF curated The Circle of Time: A Tribute to Artavazd Pelechian, in partnership with @tiff_net to launch the book, Artavazd Péléchian: Une symphonie du monde.

The films of Artavazd Pelechian are among the most stunning documentaries of the postwar Soviet era. Key to his filmmaking is his theory of distance montage, in which thematic links are made over the course of a film rather than across direct cuts; as he explained, “Eisenstein’s montage was linear, like a chain. Distance montage creates a magnetic field around the film. It’s like when a light is turned on and light is generated around the lamp. In distance montage, when the two ends are excited, the whole thing glows.”The Circle of Time was composed of three of Pelechian’s most important films, including his masterpiece The Seasons, made in collaboration with the great cinematographer Mikhail Vartanov @vartanovart (a long-time ally of Sergei Parajanov @parajanov ). The Seasons is Pelechian’s supreme celebration of the interrelationship of humanity and the natural world.

Pelechian’s films are indispensable. MCFF encourages EVERYONE to see these restorations as they screen around the world.

In association with Armenian Film Commission, Armenian Public Television, VGIK, Belarusfilm, ZDF / ARTE France, Arma Media Production, Calouste Gulbenkian Foundation, and UGAB France.

💥AN INCREDIBLE MOMENT FOR CINEMA 💥Cannes 2026 @festivaldecannes presents 5 newly restored films by the great Armenian director ARTAVAZD PELECHIAN. These new restorations will burn brighter than ever and include Land of the People (1966), The Beginning (1967), We (1969), The Inhabitants (1970), and The Seasons (1975). The director attends in person!

The long arc of Pelechian’s career, already legendary in the history of film, now returns in radiant clarity due to the extraordinary efforts of @coproduction_office and film restoration masters @cinetecabologna

Although Pelechian’s films have remained difficult to see, Media City Film Festival has been an enthusiastic champion of his cinema, screening programs of his work in their original 35mm formats and online. In 2017, MCFF curated The Circle of Time: A Tribute to Artavazd Pelechian, in partnership with @tiff_net to launch the book, Artavazd Péléchian: Une symphonie du monde.

The films of Artavazd Pelechian are among the most stunning documentaries of the postwar Soviet era. Key to his filmmaking is his theory of distance montage, in which thematic links are made over the course of a film rather than across direct cuts; as he explained, “Eisenstein’s montage was linear, like a chain. Distance montage creates a magnetic field around the film. It’s like when a light is turned on and light is generated around the lamp. In distance montage, when the two ends are excited, the whole thing glows.”The Circle of Time was composed of three of Pelechian’s most important films, including his masterpiece The Seasons, made in collaboration with the great cinematographer Mikhail Vartanov @vartanovart (a long-time ally of Sergei Parajanov @parajanov ). The Seasons is Pelechian’s supreme celebration of the interrelationship of humanity and the natural world.

Pelechian’s films are indispensable. MCFF encourages EVERYONE to see these restorations as they screen around the world.

In association with Armenian Film Commission, Armenian Public Television, VGIK, Belarusfilm, ZDF / ARTE France, Arma Media Production, Calouste Gulbenkian Foundation, and UGAB France.

💥AN INCREDIBLE MOMENT FOR CINEMA 💥Cannes 2026 @festivaldecannes presents 5 newly restored films by the great Armenian director ARTAVAZD PELECHIAN. These new restorations will burn brighter than ever and include Land of the People (1966), The Beginning (1967), We (1969), The Inhabitants (1970), and The Seasons (1975). The director attends in person!

The long arc of Pelechian’s career, already legendary in the history of film, now returns in radiant clarity due to the extraordinary efforts of @coproduction_office and film restoration masters @cinetecabologna

Although Pelechian’s films have remained difficult to see, Media City Film Festival has been an enthusiastic champion of his cinema, screening programs of his work in their original 35mm formats and online. In 2017, MCFF curated The Circle of Time: A Tribute to Artavazd Pelechian, in partnership with @tiff_net to launch the book, Artavazd Péléchian: Une symphonie du monde.

The films of Artavazd Pelechian are among the most stunning documentaries of the postwar Soviet era. Key to his filmmaking is his theory of distance montage, in which thematic links are made over the course of a film rather than across direct cuts; as he explained, “Eisenstein’s montage was linear, like a chain. Distance montage creates a magnetic field around the film. It’s like when a light is turned on and light is generated around the lamp. In distance montage, when the two ends are excited, the whole thing glows.”The Circle of Time was composed of three of Pelechian’s most important films, including his masterpiece The Seasons, made in collaboration with the great cinematographer Mikhail Vartanov @vartanovart (a long-time ally of Sergei Parajanov @parajanov ). The Seasons is Pelechian’s supreme celebration of the interrelationship of humanity and the natural world.

Pelechian’s films are indispensable. MCFF encourages EVERYONE to see these restorations as they screen around the world.

In association with Armenian Film Commission, Armenian Public Television, VGIK, Belarusfilm, ZDF / ARTE France, Arma Media Production, Calouste Gulbenkian Foundation, and UGAB France.

💥AN INCREDIBLE MOMENT FOR CINEMA 💥Cannes 2026 @festivaldecannes presents 5 newly restored films by the great Armenian director ARTAVAZD PELECHIAN. These new restorations will burn brighter than ever and include Land of the People (1966), The Beginning (1967), We (1969), The Inhabitants (1970), and The Seasons (1975). The director attends in person!

The long arc of Pelechian’s career, already legendary in the history of film, now returns in radiant clarity due to the extraordinary efforts of @coproduction_office and film restoration masters @cinetecabologna

Although Pelechian’s films have remained difficult to see, Media City Film Festival has been an enthusiastic champion of his cinema, screening programs of his work in their original 35mm formats and online. In 2017, MCFF curated The Circle of Time: A Tribute to Artavazd Pelechian, in partnership with @tiff_net to launch the book, Artavazd Péléchian: Une symphonie du monde.

The films of Artavazd Pelechian are among the most stunning documentaries of the postwar Soviet era. Key to his filmmaking is his theory of distance montage, in which thematic links are made over the course of a film rather than across direct cuts; as he explained, “Eisenstein’s montage was linear, like a chain. Distance montage creates a magnetic field around the film. It’s like when a light is turned on and light is generated around the lamp. In distance montage, when the two ends are excited, the whole thing glows.”The Circle of Time was composed of three of Pelechian’s most important films, including his masterpiece The Seasons, made in collaboration with the great cinematographer Mikhail Vartanov @vartanovart (a long-time ally of Sergei Parajanov @parajanov ). The Seasons is Pelechian’s supreme celebration of the interrelationship of humanity and the natural world.

Pelechian’s films are indispensable. MCFF encourages EVERYONE to see these restorations as they screen around the world.

In association with Armenian Film Commission, Armenian Public Television, VGIK, Belarusfilm, ZDF / ARTE France, Arma Media Production, Calouste Gulbenkian Foundation, and UGAB France.

💥AN INCREDIBLE MOMENT FOR CINEMA 💥Cannes 2026 @festivaldecannes presents 5 newly restored films by the great Armenian director ARTAVAZD PELECHIAN. These new restorations will burn brighter than ever and include Land of the People (1966), The Beginning (1967), We (1969), The Inhabitants (1970), and The Seasons (1975). The director attends in person!

The long arc of Pelechian’s career, already legendary in the history of film, now returns in radiant clarity due to the extraordinary efforts of @coproduction_office and film restoration masters @cinetecabologna

Although Pelechian’s films have remained difficult to see, Media City Film Festival has been an enthusiastic champion of his cinema, screening programs of his work in their original 35mm formats and online. In 2017, MCFF curated The Circle of Time: A Tribute to Artavazd Pelechian, in partnership with @tiff_net to launch the book, Artavazd Péléchian: Une symphonie du monde.

The films of Artavazd Pelechian are among the most stunning documentaries of the postwar Soviet era. Key to his filmmaking is his theory of distance montage, in which thematic links are made over the course of a film rather than across direct cuts; as he explained, “Eisenstein’s montage was linear, like a chain. Distance montage creates a magnetic field around the film. It’s like when a light is turned on and light is generated around the lamp. In distance montage, when the two ends are excited, the whole thing glows.”The Circle of Time was composed of three of Pelechian’s most important films, including his masterpiece The Seasons, made in collaboration with the great cinematographer Mikhail Vartanov @vartanovart (a long-time ally of Sergei Parajanov @parajanov ). The Seasons is Pelechian’s supreme celebration of the interrelationship of humanity and the natural world.

Pelechian’s films are indispensable. MCFF encourages EVERYONE to see these restorations as they screen around the world.

In association with Armenian Film Commission, Armenian Public Television, VGIK, Belarusfilm, ZDF / ARTE France, Arma Media Production, Calouste Gulbenkian Foundation, and UGAB France.

💥AN INCREDIBLE MOMENT FOR CINEMA 💥Cannes 2026 @festivaldecannes presents 5 newly restored films by the great Armenian director ARTAVAZD PELECHIAN. These new restorations will burn brighter than ever and include Land of the People (1966), The Beginning (1967), We (1969), The Inhabitants (1970), and The Seasons (1975). The director attends in person!

The long arc of Pelechian’s career, already legendary in the history of film, now returns in radiant clarity due to the extraordinary efforts of @coproduction_office and film restoration masters @cinetecabologna

Although Pelechian’s films have remained difficult to see, Media City Film Festival has been an enthusiastic champion of his cinema, screening programs of his work in their original 35mm formats and online. In 2017, MCFF curated The Circle of Time: A Tribute to Artavazd Pelechian, in partnership with @tiff_net to launch the book, Artavazd Péléchian: Une symphonie du monde.

The films of Artavazd Pelechian are among the most stunning documentaries of the postwar Soviet era. Key to his filmmaking is his theory of distance montage, in which thematic links are made over the course of a film rather than across direct cuts; as he explained, “Eisenstein’s montage was linear, like a chain. Distance montage creates a magnetic field around the film. It’s like when a light is turned on and light is generated around the lamp. In distance montage, when the two ends are excited, the whole thing glows.”The Circle of Time was composed of three of Pelechian’s most important films, including his masterpiece The Seasons, made in collaboration with the great cinematographer Mikhail Vartanov @vartanovart (a long-time ally of Sergei Parajanov @parajanov ). The Seasons is Pelechian’s supreme celebration of the interrelationship of humanity and the natural world.

Pelechian’s films are indispensable. MCFF encourages EVERYONE to see these restorations as they screen around the world.

In association with Armenian Film Commission, Armenian Public Television, VGIK, Belarusfilm, ZDF / ARTE France, Arma Media Production, Calouste Gulbenkian Foundation, and UGAB France.

❤️Friends!❤️ Open City Documentary Festival runs April 14-19 with an absolutely mind-blowing program that you must see to believe. Events are taking place across the city of London at Barbican, Close-Up, BFI, ICA, and elsewhere. When we say the program is amazing, we mean it. Where to start?!

MCFF alumni in focus include the great Armenian filmmaker Artavazd Pelechian, retrospective screenings of Ken and Flo Jacobs (Visible Press’s new book on Jacobs is now available!), and the ever-brilliant Sky Hopinka with his newest feature, Powwow People (2025). Beloved Palestinian artist and director Basma Alsharif’s recent short Morgenkreis (2025), Kevin Jerome Everson’s new long-form film Clay (2026), Barbara Hammer’s Contributions to Light (1968) and Aldebaran Sea (1969), early works by the great John Smith, Cauleen Smith’s Chronicles of a Lying Spirit (1992)—with its Detroit shoutout—and Miryam Charles’s Cette Maison (2022), written about by the brilliant Yasmina Price for our conspirators at Three Fold Press, will all screen throughout this year’s edition. And, there’s more: Suneil Sanzgiri’s Two Refusals (Would We Recognize Ourselves Unbroken?) (2024) and An Impossible Address (2025) screen together. Onyeka Igwe’s work is in focus across three programs with The Miracle on George Green (2022), A Radical Duet (2023), and many more films, along with an incredible selection of works that were formative influences on her practice, including past MCFF retrospective artist William Raban’s under-recognized masterpiece, Island Race (1996). Raban’s Thames Film (1986) will also be presented on the occasion of its 40th anniversary. Also: Life and Labour in Socialist Poland (c. 1950s-80s), Cuban Experimental Cinema (c.1991-2000), talks, workshops, performances and book launches. All of this and more is MUST SEE!

Check out the full program here: https://opencitylondon.com/
@opencitydocs

Massive congratulations to Maria Palacios Cruz and the whole Open City Doc team for putting this amazing festival together. If in London, go, go, go!

All images copyright the artists

❤️Friends!❤️ Open City Documentary Festival runs April 14-19 with an absolutely mind-blowing program that you must see to believe. Events are taking place across the city of London at Barbican, Close-Up, BFI, ICA, and elsewhere. When we say the program is amazing, we mean it. Where to start?!

MCFF alumni in focus include the great Armenian filmmaker Artavazd Pelechian, retrospective screenings of Ken and Flo Jacobs (Visible Press’s new book on Jacobs is now available!), and the ever-brilliant Sky Hopinka with his newest feature, Powwow People (2025). Beloved Palestinian artist and director Basma Alsharif’s recent short Morgenkreis (2025), Kevin Jerome Everson’s new long-form film Clay (2026), Barbara Hammer’s Contributions to Light (1968) and Aldebaran Sea (1969), early works by the great John Smith, Cauleen Smith’s Chronicles of a Lying Spirit (1992)—with its Detroit shoutout—and Miryam Charles’s Cette Maison (2022), written about by the brilliant Yasmina Price for our conspirators at Three Fold Press, will all screen throughout this year’s edition. And, there’s more: Suneil Sanzgiri’s Two Refusals (Would We Recognize Ourselves Unbroken?) (2024) and An Impossible Address (2025) screen together. Onyeka Igwe’s work is in focus across three programs with The Miracle on George Green (2022), A Radical Duet (2023), and many more films, along with an incredible selection of works that were formative influences on her practice, including past MCFF retrospective artist William Raban’s under-recognized masterpiece, Island Race (1996). Raban’s Thames Film (1986) will also be presented on the occasion of its 40th anniversary. Also: Life and Labour in Socialist Poland (c. 1950s-80s), Cuban Experimental Cinema (c.1991-2000), talks, workshops, performances and book launches. All of this and more is MUST SEE!

Check out the full program here: https://opencitylondon.com/
@opencitydocs

Massive congratulations to Maria Palacios Cruz and the whole Open City Doc team for putting this amazing festival together. If in London, go, go, go!

All images copyright the artists

❤️Friends!❤️ Open City Documentary Festival runs April 14-19 with an absolutely mind-blowing program that you must see to believe. Events are taking place across the city of London at Barbican, Close-Up, BFI, ICA, and elsewhere. When we say the program is amazing, we mean it. Where to start?!

MCFF alumni in focus include the great Armenian filmmaker Artavazd Pelechian, retrospective screenings of Ken and Flo Jacobs (Visible Press’s new book on Jacobs is now available!), and the ever-brilliant Sky Hopinka with his newest feature, Powwow People (2025). Beloved Palestinian artist and director Basma Alsharif’s recent short Morgenkreis (2025), Kevin Jerome Everson’s new long-form film Clay (2026), Barbara Hammer’s Contributions to Light (1968) and Aldebaran Sea (1969), early works by the great John Smith, Cauleen Smith’s Chronicles of a Lying Spirit (1992)—with its Detroit shoutout—and Miryam Charles’s Cette Maison (2022), written about by the brilliant Yasmina Price for our conspirators at Three Fold Press, will all screen throughout this year’s edition. And, there’s more: Suneil Sanzgiri’s Two Refusals (Would We Recognize Ourselves Unbroken?) (2024) and An Impossible Address (2025) screen together. Onyeka Igwe’s work is in focus across three programs with The Miracle on George Green (2022), A Radical Duet (2023), and many more films, along with an incredible selection of works that were formative influences on her practice, including past MCFF retrospective artist William Raban’s under-recognized masterpiece, Island Race (1996). Raban’s Thames Film (1986) will also be presented on the occasion of its 40th anniversary. Also: Life and Labour in Socialist Poland (c. 1950s-80s), Cuban Experimental Cinema (c.1991-2000), talks, workshops, performances and book launches. All of this and more is MUST SEE!

Check out the full program here: https://opencitylondon.com/
@opencitydocs

Massive congratulations to Maria Palacios Cruz and the whole Open City Doc team for putting this amazing festival together. If in London, go, go, go!

All images copyright the artists

❤️Friends!❤️ Open City Documentary Festival runs April 14-19 with an absolutely mind-blowing program that you must see to believe. Events are taking place across the city of London at Barbican, Close-Up, BFI, ICA, and elsewhere. When we say the program is amazing, we mean it. Where to start?!

MCFF alumni in focus include the great Armenian filmmaker Artavazd Pelechian, retrospective screenings of Ken and Flo Jacobs (Visible Press’s new book on Jacobs is now available!), and the ever-brilliant Sky Hopinka with his newest feature, Powwow People (2025). Beloved Palestinian artist and director Basma Alsharif’s recent short Morgenkreis (2025), Kevin Jerome Everson’s new long-form film Clay (2026), Barbara Hammer’s Contributions to Light (1968) and Aldebaran Sea (1969), early works by the great John Smith, Cauleen Smith’s Chronicles of a Lying Spirit (1992)—with its Detroit shoutout—and Miryam Charles’s Cette Maison (2022), written about by the brilliant Yasmina Price for our conspirators at Three Fold Press, will all screen throughout this year’s edition. And, there’s more: Suneil Sanzgiri’s Two Refusals (Would We Recognize Ourselves Unbroken?) (2024) and An Impossible Address (2025) screen together. Onyeka Igwe’s work is in focus across three programs with The Miracle on George Green (2022), A Radical Duet (2023), and many more films, along with an incredible selection of works that were formative influences on her practice, including past MCFF retrospective artist William Raban’s under-recognized masterpiece, Island Race (1996). Raban’s Thames Film (1986) will also be presented on the occasion of its 40th anniversary. Also: Life and Labour in Socialist Poland (c. 1950s-80s), Cuban Experimental Cinema (c.1991-2000), talks, workshops, performances and book launches. All of this and more is MUST SEE!

Check out the full program here: https://opencitylondon.com/
@opencitydocs

Massive congratulations to Maria Palacios Cruz and the whole Open City Doc team for putting this amazing festival together. If in London, go, go, go!

All images copyright the artists

❤️Friends!❤️ Open City Documentary Festival runs April 14-19 with an absolutely mind-blowing program that you must see to believe. Events are taking place across the city of London at Barbican, Close-Up, BFI, ICA, and elsewhere. When we say the program is amazing, we mean it. Where to start?!

MCFF alumni in focus include the great Armenian filmmaker Artavazd Pelechian, retrospective screenings of Ken and Flo Jacobs (Visible Press’s new book on Jacobs is now available!), and the ever-brilliant Sky Hopinka with his newest feature, Powwow People (2025). Beloved Palestinian artist and director Basma Alsharif’s recent short Morgenkreis (2025), Kevin Jerome Everson’s new long-form film Clay (2026), Barbara Hammer’s Contributions to Light (1968) and Aldebaran Sea (1969), early works by the great John Smith, Cauleen Smith’s Chronicles of a Lying Spirit (1992)—with its Detroit shoutout—and Miryam Charles’s Cette Maison (2022), written about by the brilliant Yasmina Price for our conspirators at Three Fold Press, will all screen throughout this year’s edition. And, there’s more: Suneil Sanzgiri’s Two Refusals (Would We Recognize Ourselves Unbroken?) (2024) and An Impossible Address (2025) screen together. Onyeka Igwe’s work is in focus across three programs with The Miracle on George Green (2022), A Radical Duet (2023), and many more films, along with an incredible selection of works that were formative influences on her practice, including past MCFF retrospective artist William Raban’s under-recognized masterpiece, Island Race (1996). Raban’s Thames Film (1986) will also be presented on the occasion of its 40th anniversary. Also: Life and Labour in Socialist Poland (c. 1950s-80s), Cuban Experimental Cinema (c.1991-2000), talks, workshops, performances and book launches. All of this and more is MUST SEE!

Check out the full program here: https://opencitylondon.com/
@opencitydocs

Massive congratulations to Maria Palacios Cruz and the whole Open City Doc team for putting this amazing festival together. If in London, go, go, go!

All images copyright the artists

❤️Friends!❤️ Open City Documentary Festival runs April 14-19 with an absolutely mind-blowing program that you must see to believe. Events are taking place across the city of London at Barbican, Close-Up, BFI, ICA, and elsewhere. When we say the program is amazing, we mean it. Where to start?!

MCFF alumni in focus include the great Armenian filmmaker Artavazd Pelechian, retrospective screenings of Ken and Flo Jacobs (Visible Press’s new book on Jacobs is now available!), and the ever-brilliant Sky Hopinka with his newest feature, Powwow People (2025). Beloved Palestinian artist and director Basma Alsharif’s recent short Morgenkreis (2025), Kevin Jerome Everson’s new long-form film Clay (2026), Barbara Hammer’s Contributions to Light (1968) and Aldebaran Sea (1969), early works by the great John Smith, Cauleen Smith’s Chronicles of a Lying Spirit (1992)—with its Detroit shoutout—and Miryam Charles’s Cette Maison (2022), written about by the brilliant Yasmina Price for our conspirators at Three Fold Press, will all screen throughout this year’s edition. And, there’s more: Suneil Sanzgiri’s Two Refusals (Would We Recognize Ourselves Unbroken?) (2024) and An Impossible Address (2025) screen together. Onyeka Igwe’s work is in focus across three programs with The Miracle on George Green (2022), A Radical Duet (2023), and many more films, along with an incredible selection of works that were formative influences on her practice, including past MCFF retrospective artist William Raban’s under-recognized masterpiece, Island Race (1996). Raban’s Thames Film (1986) will also be presented on the occasion of its 40th anniversary. Also: Life and Labour in Socialist Poland (c. 1950s-80s), Cuban Experimental Cinema (c.1991-2000), talks, workshops, performances and book launches. All of this and more is MUST SEE!

Check out the full program here: https://opencitylondon.com/
@opencitydocs

Massive congratulations to Maria Palacios Cruz and the whole Open City Doc team for putting this amazing festival together. If in London, go, go, go!

All images copyright the artists

❤️Friends!❤️ Open City Documentary Festival runs April 14-19 with an absolutely mind-blowing program that you must see to believe. Events are taking place across the city of London at Barbican, Close-Up, BFI, ICA, and elsewhere. When we say the program is amazing, we mean it. Where to start?!

MCFF alumni in focus include the great Armenian filmmaker Artavazd Pelechian, retrospective screenings of Ken and Flo Jacobs (Visible Press’s new book on Jacobs is now available!), and the ever-brilliant Sky Hopinka with his newest feature, Powwow People (2025). Beloved Palestinian artist and director Basma Alsharif’s recent short Morgenkreis (2025), Kevin Jerome Everson’s new long-form film Clay (2026), Barbara Hammer’s Contributions to Light (1968) and Aldebaran Sea (1969), early works by the great John Smith, Cauleen Smith’s Chronicles of a Lying Spirit (1992)—with its Detroit shoutout—and Miryam Charles’s Cette Maison (2022), written about by the brilliant Yasmina Price for our conspirators at Three Fold Press, will all screen throughout this year’s edition. And, there’s more: Suneil Sanzgiri’s Two Refusals (Would We Recognize Ourselves Unbroken?) (2024) and An Impossible Address (2025) screen together. Onyeka Igwe’s work is in focus across three programs with The Miracle on George Green (2022), A Radical Duet (2023), and many more films, along with an incredible selection of works that were formative influences on her practice, including past MCFF retrospective artist William Raban’s under-recognized masterpiece, Island Race (1996). Raban’s Thames Film (1986) will also be presented on the occasion of its 40th anniversary. Also: Life and Labour in Socialist Poland (c. 1950s-80s), Cuban Experimental Cinema (c.1991-2000), talks, workshops, performances and book launches. All of this and more is MUST SEE!

Check out the full program here: https://opencitylondon.com/
@opencitydocs

Massive congratulations to Maria Palacios Cruz and the whole Open City Doc team for putting this amazing festival together. If in London, go, go, go!

All images copyright the artists

❤️Friends!❤️ Open City Documentary Festival runs April 14-19 with an absolutely mind-blowing program that you must see to believe. Events are taking place across the city of London at Barbican, Close-Up, BFI, ICA, and elsewhere. When we say the program is amazing, we mean it. Where to start?!

MCFF alumni in focus include the great Armenian filmmaker Artavazd Pelechian, retrospective screenings of Ken and Flo Jacobs (Visible Press’s new book on Jacobs is now available!), and the ever-brilliant Sky Hopinka with his newest feature, Powwow People (2025). Beloved Palestinian artist and director Basma Alsharif’s recent short Morgenkreis (2025), Kevin Jerome Everson’s new long-form film Clay (2026), Barbara Hammer’s Contributions to Light (1968) and Aldebaran Sea (1969), early works by the great John Smith, Cauleen Smith’s Chronicles of a Lying Spirit (1992)—with its Detroit shoutout—and Miryam Charles’s Cette Maison (2022), written about by the brilliant Yasmina Price for our conspirators at Three Fold Press, will all screen throughout this year’s edition. And, there’s more: Suneil Sanzgiri’s Two Refusals (Would We Recognize Ourselves Unbroken?) (2024) and An Impossible Address (2025) screen together. Onyeka Igwe’s work is in focus across three programs with The Miracle on George Green (2022), A Radical Duet (2023), and many more films, along with an incredible selection of works that were formative influences on her practice, including past MCFF retrospective artist William Raban’s under-recognized masterpiece, Island Race (1996). Raban’s Thames Film (1986) will also be presented on the occasion of its 40th anniversary. Also: Life and Labour in Socialist Poland (c. 1950s-80s), Cuban Experimental Cinema (c.1991-2000), talks, workshops, performances and book launches. All of this and more is MUST SEE!

Check out the full program here: https://opencitylondon.com/
@opencitydocs

Massive congratulations to Maria Palacios Cruz and the whole Open City Doc team for putting this amazing festival together. If in London, go, go, go!

All images copyright the artists

❤️Friends!❤️ Open City Documentary Festival runs April 14-19 with an absolutely mind-blowing program that you must see to believe. Events are taking place across the city of London at Barbican, Close-Up, BFI, ICA, and elsewhere. When we say the program is amazing, we mean it. Where to start?!

MCFF alumni in focus include the great Armenian filmmaker Artavazd Pelechian, retrospective screenings of Ken and Flo Jacobs (Visible Press’s new book on Jacobs is now available!), and the ever-brilliant Sky Hopinka with his newest feature, Powwow People (2025). Beloved Palestinian artist and director Basma Alsharif’s recent short Morgenkreis (2025), Kevin Jerome Everson’s new long-form film Clay (2026), Barbara Hammer’s Contributions to Light (1968) and Aldebaran Sea (1969), early works by the great John Smith, Cauleen Smith’s Chronicles of a Lying Spirit (1992)—with its Detroit shoutout—and Miryam Charles’s Cette Maison (2022), written about by the brilliant Yasmina Price for our conspirators at Three Fold Press, will all screen throughout this year’s edition. And, there’s more: Suneil Sanzgiri’s Two Refusals (Would We Recognize Ourselves Unbroken?) (2024) and An Impossible Address (2025) screen together. Onyeka Igwe’s work is in focus across three programs with The Miracle on George Green (2022), A Radical Duet (2023), and many more films, along with an incredible selection of works that were formative influences on her practice, including past MCFF retrospective artist William Raban’s under-recognized masterpiece, Island Race (1996). Raban’s Thames Film (1986) will also be presented on the occasion of its 40th anniversary. Also: Life and Labour in Socialist Poland (c. 1950s-80s), Cuban Experimental Cinema (c.1991-2000), talks, workshops, performances and book launches. All of this and more is MUST SEE!

Check out the full program here: https://opencitylondon.com/
@opencitydocs

Massive congratulations to Maria Palacios Cruz and the whole Open City Doc team for putting this amazing festival together. If in London, go, go, go!

All images copyright the artists

❤️Friends!❤️ Open City Documentary Festival runs April 14-19 with an absolutely mind-blowing program that you must see to believe. Events are taking place across the city of London at Barbican, Close-Up, BFI, ICA, and elsewhere. When we say the program is amazing, we mean it. Where to start?!

MCFF alumni in focus include the great Armenian filmmaker Artavazd Pelechian, retrospective screenings of Ken and Flo Jacobs (Visible Press’s new book on Jacobs is now available!), and the ever-brilliant Sky Hopinka with his newest feature, Powwow People (2025). Beloved Palestinian artist and director Basma Alsharif’s recent short Morgenkreis (2025), Kevin Jerome Everson’s new long-form film Clay (2026), Barbara Hammer’s Contributions to Light (1968) and Aldebaran Sea (1969), early works by the great John Smith, Cauleen Smith’s Chronicles of a Lying Spirit (1992)—with its Detroit shoutout—and Miryam Charles’s Cette Maison (2022), written about by the brilliant Yasmina Price for our conspirators at Three Fold Press, will all screen throughout this year’s edition. And, there’s more: Suneil Sanzgiri’s Two Refusals (Would We Recognize Ourselves Unbroken?) (2024) and An Impossible Address (2025) screen together. Onyeka Igwe’s work is in focus across three programs with The Miracle on George Green (2022), A Radical Duet (2023), and many more films, along with an incredible selection of works that were formative influences on her practice, including past MCFF retrospective artist William Raban’s under-recognized masterpiece, Island Race (1996). Raban’s Thames Film (1986) will also be presented on the occasion of its 40th anniversary. Also: Life and Labour in Socialist Poland (c. 1950s-80s), Cuban Experimental Cinema (c.1991-2000), talks, workshops, performances and book launches. All of this and more is MUST SEE!

Check out the full program here: https://opencitylondon.com/
@opencitydocs

Massive congratulations to Maria Palacios Cruz and the whole Open City Doc team for putting this amazing festival together. If in London, go, go, go!

All images copyright the artists

❤️Friends!❤️ Open City Documentary Festival runs April 14-19 with an absolutely mind-blowing program that you must see to believe. Events are taking place across the city of London at Barbican, Close-Up, BFI, ICA, and elsewhere. When we say the program is amazing, we mean it. Where to start?!

MCFF alumni in focus include the great Armenian filmmaker Artavazd Pelechian, retrospective screenings of Ken and Flo Jacobs (Visible Press’s new book on Jacobs is now available!), and the ever-brilliant Sky Hopinka with his newest feature, Powwow People (2025). Beloved Palestinian artist and director Basma Alsharif’s recent short Morgenkreis (2025), Kevin Jerome Everson’s new long-form film Clay (2026), Barbara Hammer’s Contributions to Light (1968) and Aldebaran Sea (1969), early works by the great John Smith, Cauleen Smith’s Chronicles of a Lying Spirit (1992)—with its Detroit shoutout—and Miryam Charles’s Cette Maison (2022), written about by the brilliant Yasmina Price for our conspirators at Three Fold Press, will all screen throughout this year’s edition. And, there’s more: Suneil Sanzgiri’s Two Refusals (Would We Recognize Ourselves Unbroken?) (2024) and An Impossible Address (2025) screen together. Onyeka Igwe’s work is in focus across three programs with The Miracle on George Green (2022), A Radical Duet (2023), and many more films, along with an incredible selection of works that were formative influences on her practice, including past MCFF retrospective artist William Raban’s under-recognized masterpiece, Island Race (1996). Raban’s Thames Film (1986) will also be presented on the occasion of its 40th anniversary. Also: Life and Labour in Socialist Poland (c. 1950s-80s), Cuban Experimental Cinema (c.1991-2000), talks, workshops, performances and book launches. All of this and more is MUST SEE!

Check out the full program here: https://opencitylondon.com/
@opencitydocs

Massive congratulations to Maria Palacios Cruz and the whole Open City Doc team for putting this amazing festival together. If in London, go, go, go!

All images copyright the artists

❤️Friends!❤️ Open City Documentary Festival runs April 14-19 with an absolutely mind-blowing program that you must see to believe. Events are taking place across the city of London at Barbican, Close-Up, BFI, ICA, and elsewhere. When we say the program is amazing, we mean it. Where to start?!

MCFF alumni in focus include the great Armenian filmmaker Artavazd Pelechian, retrospective screenings of Ken and Flo Jacobs (Visible Press’s new book on Jacobs is now available!), and the ever-brilliant Sky Hopinka with his newest feature, Powwow People (2025). Beloved Palestinian artist and director Basma Alsharif’s recent short Morgenkreis (2025), Kevin Jerome Everson’s new long-form film Clay (2026), Barbara Hammer’s Contributions to Light (1968) and Aldebaran Sea (1969), early works by the great John Smith, Cauleen Smith’s Chronicles of a Lying Spirit (1992)—with its Detroit shoutout—and Miryam Charles’s Cette Maison (2022), written about by the brilliant Yasmina Price for our conspirators at Three Fold Press, will all screen throughout this year’s edition. And, there’s more: Suneil Sanzgiri’s Two Refusals (Would We Recognize Ourselves Unbroken?) (2024) and An Impossible Address (2025) screen together. Onyeka Igwe’s work is in focus across three programs with The Miracle on George Green (2022), A Radical Duet (2023), and many more films, along with an incredible selection of works that were formative influences on her practice, including past MCFF retrospective artist William Raban’s under-recognized masterpiece, Island Race (1996). Raban’s Thames Film (1986) will also be presented on the occasion of its 40th anniversary. Also: Life and Labour in Socialist Poland (c. 1950s-80s), Cuban Experimental Cinema (c.1991-2000), talks, workshops, performances and book launches. All of this and more is MUST SEE!

Check out the full program here: https://opencitylondon.com/
@opencitydocs

Massive congratulations to Maria Palacios Cruz and the whole Open City Doc team for putting this amazing festival together. If in London, go, go, go!

All images copyright the artists

❤️Friends!❤️ Open City Documentary Festival runs April 14-19 with an absolutely mind-blowing program that you must see to believe. Events are taking place across the city of London at Barbican, Close-Up, BFI, ICA, and elsewhere. When we say the program is amazing, we mean it. Where to start?!

MCFF alumni in focus include the great Armenian filmmaker Artavazd Pelechian, retrospective screenings of Ken and Flo Jacobs (Visible Press’s new book on Jacobs is now available!), and the ever-brilliant Sky Hopinka with his newest feature, Powwow People (2025). Beloved Palestinian artist and director Basma Alsharif’s recent short Morgenkreis (2025), Kevin Jerome Everson’s new long-form film Clay (2026), Barbara Hammer’s Contributions to Light (1968) and Aldebaran Sea (1969), early works by the great John Smith, Cauleen Smith’s Chronicles of a Lying Spirit (1992)—with its Detroit shoutout—and Miryam Charles’s Cette Maison (2022), written about by the brilliant Yasmina Price for our conspirators at Three Fold Press, will all screen throughout this year’s edition. And, there’s more: Suneil Sanzgiri’s Two Refusals (Would We Recognize Ourselves Unbroken?) (2024) and An Impossible Address (2025) screen together. Onyeka Igwe’s work is in focus across three programs with The Miracle on George Green (2022), A Radical Duet (2023), and many more films, along with an incredible selection of works that were formative influences on her practice, including past MCFF retrospective artist William Raban’s under-recognized masterpiece, Island Race (1996). Raban’s Thames Film (1986) will also be presented on the occasion of its 40th anniversary. Also: Life and Labour in Socialist Poland (c. 1950s-80s), Cuban Experimental Cinema (c.1991-2000), talks, workshops, performances and book launches. All of this and more is MUST SEE!

Check out the full program here: https://opencitylondon.com/
@opencitydocs

Massive congratulations to Maria Palacios Cruz and the whole Open City Doc team for putting this amazing festival together. If in London, go, go, go!

All images copyright the artists

❤️Friends!❤️ Open City Documentary Festival runs April 14-19 with an absolutely mind-blowing program that you must see to believe. Events are taking place across the city of London at Barbican, Close-Up, BFI, ICA, and elsewhere. When we say the program is amazing, we mean it. Where to start?!

MCFF alumni in focus include the great Armenian filmmaker Artavazd Pelechian, retrospective screenings of Ken and Flo Jacobs (Visible Press’s new book on Jacobs is now available!), and the ever-brilliant Sky Hopinka with his newest feature, Powwow People (2025). Beloved Palestinian artist and director Basma Alsharif’s recent short Morgenkreis (2025), Kevin Jerome Everson’s new long-form film Clay (2026), Barbara Hammer’s Contributions to Light (1968) and Aldebaran Sea (1969), early works by the great John Smith, Cauleen Smith’s Chronicles of a Lying Spirit (1992)—with its Detroit shoutout—and Miryam Charles’s Cette Maison (2022), written about by the brilliant Yasmina Price for our conspirators at Three Fold Press, will all screen throughout this year’s edition. And, there’s more: Suneil Sanzgiri’s Two Refusals (Would We Recognize Ourselves Unbroken?) (2024) and An Impossible Address (2025) screen together. Onyeka Igwe’s work is in focus across three programs with The Miracle on George Green (2022), A Radical Duet (2023), and many more films, along with an incredible selection of works that were formative influences on her practice, including past MCFF retrospective artist William Raban’s under-recognized masterpiece, Island Race (1996). Raban’s Thames Film (1986) will also be presented on the occasion of its 40th anniversary. Also: Life and Labour in Socialist Poland (c. 1950s-80s), Cuban Experimental Cinema (c.1991-2000), talks, workshops, performances and book launches. All of this and more is MUST SEE!

Check out the full program here: https://opencitylondon.com/
@opencitydocs

Massive congratulations to Maria Palacios Cruz and the whole Open City Doc team for putting this amazing festival together. If in London, go, go, go!

All images copyright the artists

❤️Friends!❤️ Open City Documentary Festival runs April 14-19 with an absolutely mind-blowing program that you must see to believe. Events are taking place across the city of London at Barbican, Close-Up, BFI, ICA, and elsewhere. When we say the program is amazing, we mean it. Where to start?!

MCFF alumni in focus include the great Armenian filmmaker Artavazd Pelechian, retrospective screenings of Ken and Flo Jacobs (Visible Press’s new book on Jacobs is now available!), and the ever-brilliant Sky Hopinka with his newest feature, Powwow People (2025). Beloved Palestinian artist and director Basma Alsharif’s recent short Morgenkreis (2025), Kevin Jerome Everson’s new long-form film Clay (2026), Barbara Hammer’s Contributions to Light (1968) and Aldebaran Sea (1969), early works by the great John Smith, Cauleen Smith’s Chronicles of a Lying Spirit (1992)—with its Detroit shoutout—and Miryam Charles’s Cette Maison (2022), written about by the brilliant Yasmina Price for our conspirators at Three Fold Press, will all screen throughout this year’s edition. And, there’s more: Suneil Sanzgiri’s Two Refusals (Would We Recognize Ourselves Unbroken?) (2024) and An Impossible Address (2025) screen together. Onyeka Igwe’s work is in focus across three programs with The Miracle on George Green (2022), A Radical Duet (2023), and many more films, along with an incredible selection of works that were formative influences on her practice, including past MCFF retrospective artist William Raban’s under-recognized masterpiece, Island Race (1996). Raban’s Thames Film (1986) will also be presented on the occasion of its 40th anniversary. Also: Life and Labour in Socialist Poland (c. 1950s-80s), Cuban Experimental Cinema (c.1991-2000), talks, workshops, performances and book launches. All of this and more is MUST SEE!

Check out the full program here: https://opencitylondon.com/
@opencitydocs

Massive congratulations to Maria Palacios Cruz and the whole Open City Doc team for putting this amazing festival together. If in London, go, go, go!

All images copyright the artists

❤️Friends!❤️ Open City Documentary Festival runs April 14-19 with an absolutely mind-blowing program that you must see to believe. Events are taking place across the city of London at Barbican, Close-Up, BFI, ICA, and elsewhere. When we say the program is amazing, we mean it. Where to start?!

MCFF alumni in focus include the great Armenian filmmaker Artavazd Pelechian, retrospective screenings of Ken and Flo Jacobs (Visible Press’s new book on Jacobs is now available!), and the ever-brilliant Sky Hopinka with his newest feature, Powwow People (2025). Beloved Palestinian artist and director Basma Alsharif’s recent short Morgenkreis (2025), Kevin Jerome Everson’s new long-form film Clay (2026), Barbara Hammer’s Contributions to Light (1968) and Aldebaran Sea (1969), early works by the great John Smith, Cauleen Smith’s Chronicles of a Lying Spirit (1992)—with its Detroit shoutout—and Miryam Charles’s Cette Maison (2022), written about by the brilliant Yasmina Price for our conspirators at Three Fold Press, will all screen throughout this year’s edition. And, there’s more: Suneil Sanzgiri’s Two Refusals (Would We Recognize Ourselves Unbroken?) (2024) and An Impossible Address (2025) screen together. Onyeka Igwe’s work is in focus across three programs with The Miracle on George Green (2022), A Radical Duet (2023), and many more films, along with an incredible selection of works that were formative influences on her practice, including past MCFF retrospective artist William Raban’s under-recognized masterpiece, Island Race (1996). Raban’s Thames Film (1986) will also be presented on the occasion of its 40th anniversary. Also: Life and Labour in Socialist Poland (c. 1950s-80s), Cuban Experimental Cinema (c.1991-2000), talks, workshops, performances and book launches. All of this and more is MUST SEE!

Check out the full program here: https://opencitylondon.com/
@opencitydocs

Massive congratulations to Maria Palacios Cruz and the whole Open City Doc team for putting this amazing festival together. If in London, go, go, go!

All images copyright the artists

It’s not everyday that you find out that your work has been written about in a bona fide , real print publication. Let alone one written by one of the most respected voices in the field. I’m truly honored and humbled that mywork waswritten about as a part of THE WORLD OF BLACK FILM. As far as I know, the first survey of the first roughly 100 years of black cinema. I’m far away from the USA at the moment but I look forward to handling a physical copy. One ofmyfive films discussed in the book will screen with some extremely humbling company at one of the greatest micro cinemas on planet earth next week. I can’t make it myself but please attend if you can 🙏🏾🪷🙏🏾 @_ash_clark 🚨HARLEM BOOK EVENT ALERT!🚨

At 7pm on Saturday March 21st, I’ll be up at the legendary @mayslesdocumentarycenter, at the kind invitation of the great @kazembe_balagun, to introduce three terrific, moving, and politically propulsive nonfiction films featured in my book The World of Black Film. Those films are:

Integration Report 1 (Madeline Anderson, 1960)
The Black and the Green (St. Clair Bourne, 1983)
Fluid Frontiers (@ephraimasili, 2017)

Following the screening, I will be signing copies of my book, which will be on sale at the venue.

🎟 at the Maysles website, or via the LinkTree in my bio.

Looking forward to seeing some friendly faces there! @_ash_clark.Last 📸 @oonamosna

It’s not everyday that you find out that your work has been written about in a bona fide , real print publication. Let alone one written by one of the most respected voices in the field. I’m truly honored and humbled that mywork waswritten about as a part of THE WORLD OF BLACK FILM. As far as I know, the first survey of the first roughly 100 years of black cinema. I’m far away from the USA at the moment but I look forward to handling a physical copy. One ofmyfive films discussed in the book will screen with some extremely humbling company at one of the greatest micro cinemas on planet earth next week. I can’t make it myself but please attend if you can 🙏🏾🪷🙏🏾 @_ash_clark 🚨HARLEM BOOK EVENT ALERT!🚨

At 7pm on Saturday March 21st, I’ll be up at the legendary @mayslesdocumentarycenter, at the kind invitation of the great @kazembe_balagun, to introduce three terrific, moving, and politically propulsive nonfiction films featured in my book The World of Black Film. Those films are:

Integration Report 1 (Madeline Anderson, 1960)
The Black and the Green (St. Clair Bourne, 1983)
Fluid Frontiers (@ephraimasili, 2017)

Following the screening, I will be signing copies of my book, which will be on sale at the venue.

🎟 at the Maysles website, or via the LinkTree in my bio.

Looking forward to seeing some friendly faces there! @_ash_clark.Last 📸 @oonamosna

It’s not everyday that you find out that your work has been written about in a bona fide , real print publication. Let alone one written by one of the most respected voices in the field. I’m truly honored and humbled that mywork waswritten about as a part of THE WORLD OF BLACK FILM. As far as I know, the first survey of the first roughly 100 years of black cinema. I’m far away from the USA at the moment but I look forward to handling a physical copy. One ofmyfive films discussed in the book will screen with some extremely humbling company at one of the greatest micro cinemas on planet earth next week. I can’t make it myself but please attend if you can 🙏🏾🪷🙏🏾 @_ash_clark 🚨HARLEM BOOK EVENT ALERT!🚨

At 7pm on Saturday March 21st, I’ll be up at the legendary @mayslesdocumentarycenter, at the kind invitation of the great @kazembe_balagun, to introduce three terrific, moving, and politically propulsive nonfiction films featured in my book The World of Black Film. Those films are:

Integration Report 1 (Madeline Anderson, 1960)
The Black and the Green (St. Clair Bourne, 1983)
Fluid Frontiers (@ephraimasili, 2017)

Following the screening, I will be signing copies of my book, which will be on sale at the venue.

🎟 at the Maysles website, or via the LinkTree in my bio.

Looking forward to seeing some friendly faces there! @_ash_clark.Last 📸 @oonamosna

It’s not everyday that you find out that your work has been written about in a bona fide , real print publication. Let alone one written by one of the most respected voices in the field. I’m truly honored and humbled that mywork waswritten about as a part of THE WORLD OF BLACK FILM. As far as I know, the first survey of the first roughly 100 years of black cinema. I’m far away from the USA at the moment but I look forward to handling a physical copy. One ofmyfive films discussed in the book will screen with some extremely humbling company at one of the greatest micro cinemas on planet earth next week. I can’t make it myself but please attend if you can 🙏🏾🪷🙏🏾 @_ash_clark 🚨HARLEM BOOK EVENT ALERT!🚨

At 7pm on Saturday March 21st, I’ll be up at the legendary @mayslesdocumentarycenter, at the kind invitation of the great @kazembe_balagun, to introduce three terrific, moving, and politically propulsive nonfiction films featured in my book The World of Black Film. Those films are:

Integration Report 1 (Madeline Anderson, 1960)
The Black and the Green (St. Clair Bourne, 1983)
Fluid Frontiers (@ephraimasili, 2017)

Following the screening, I will be signing copies of my book, which will be on sale at the venue.

🎟 at the Maysles website, or via the LinkTree in my bio.

Looking forward to seeing some friendly faces there! @_ash_clark.Last 📸 @oonamosna

It’s not everyday that you find out that your work has been written about in a bona fide , real print publication. Let alone one written by one of the most respected voices in the field. I’m truly honored and humbled that mywork waswritten about as a part of THE WORLD OF BLACK FILM. As far as I know, the first survey of the first roughly 100 years of black cinema. I’m far away from the USA at the moment but I look forward to handling a physical copy. One ofmyfive films discussed in the book will screen with some extremely humbling company at one of the greatest micro cinemas on planet earth next week. I can’t make it myself but please attend if you can 🙏🏾🪷🙏🏾 @_ash_clark 🚨HARLEM BOOK EVENT ALERT!🚨

At 7pm on Saturday March 21st, I’ll be up at the legendary @mayslesdocumentarycenter, at the kind invitation of the great @kazembe_balagun, to introduce three terrific, moving, and politically propulsive nonfiction films featured in my book The World of Black Film. Those films are:

Integration Report 1 (Madeline Anderson, 1960)
The Black and the Green (St. Clair Bourne, 1983)
Fluid Frontiers (@ephraimasili, 2017)

Following the screening, I will be signing copies of my book, which will be on sale at the venue.

🎟 at the Maysles website, or via the LinkTree in my bio.

Looking forward to seeing some friendly faces there! @_ash_clark.Last 📸 @oonamosna

It’s not everyday that you find out that your work has been written about in a bona fide , real print publication. Let alone one written by one of the most respected voices in the field. I’m truly honored and humbled that mywork waswritten about as a part of THE WORLD OF BLACK FILM. As far as I know, the first survey of the first roughly 100 years of black cinema. I’m far away from the USA at the moment but I look forward to handling a physical copy. One ofmyfive films discussed in the book will screen with some extremely humbling company at one of the greatest micro cinemas on planet earth next week. I can’t make it myself but please attend if you can 🙏🏾🪷🙏🏾 @_ash_clark 🚨HARLEM BOOK EVENT ALERT!🚨

At 7pm on Saturday March 21st, I’ll be up at the legendary @mayslesdocumentarycenter, at the kind invitation of the great @kazembe_balagun, to introduce three terrific, moving, and politically propulsive nonfiction films featured in my book The World of Black Film. Those films are:

Integration Report 1 (Madeline Anderson, 1960)
The Black and the Green (St. Clair Bourne, 1983)
Fluid Frontiers (@ephraimasili, 2017)

Following the screening, I will be signing copies of my book, which will be on sale at the venue.

🎟 at the Maysles website, or via the LinkTree in my bio.

Looking forward to seeing some friendly faces there! @_ash_clark.Last 📸 @oonamosna

It’s not everyday that you find out that your work has been written about in a bona fide , real print publication. Let alone one written by one of the most respected voices in the field. I’m truly honored and humbled that mywork waswritten about as a part of THE WORLD OF BLACK FILM. As far as I know, the first survey of the first roughly 100 years of black cinema. I’m far away from the USA at the moment but I look forward to handling a physical copy. One ofmyfive films discussed in the book will screen with some extremely humbling company at one of the greatest micro cinemas on planet earth next week. I can’t make it myself but please attend if you can 🙏🏾🪷🙏🏾 @_ash_clark 🚨HARLEM BOOK EVENT ALERT!🚨

At 7pm on Saturday March 21st, I’ll be up at the legendary @mayslesdocumentarycenter, at the kind invitation of the great @kazembe_balagun, to introduce three terrific, moving, and politically propulsive nonfiction films featured in my book The World of Black Film. Those films are:

Integration Report 1 (Madeline Anderson, 1960)
The Black and the Green (St. Clair Bourne, 1983)
Fluid Frontiers (@ephraimasili, 2017)

Following the screening, I will be signing copies of my book, which will be on sale at the venue.

🎟 at the Maysles website, or via the LinkTree in my bio.

Looking forward to seeing some friendly faces there! @_ash_clark.Last 📸 @oonamosna

Dear friends ♥️🌙 The Academy Museum of Motion Pictures is celebrating our dearly departed friend and master filmmaker Tomonari Nishikawa this Saturday, February 28. “Glimmers and Ghosts: The Cinema of Tomonari Nishikawa” features a mesmerizing selection of Tomo’s 16mm and 35mm films created across two decades (2003–2023), including “Market Street” (2005), “Tokyo–Ebisu” (2010), “sound of a million insects, light of a thousand stars” (2014), “Ten Mornings Ten Evenings and One Horizon” (2016), among many others.

Friends in L.A. this is an amazing opportunity to see a large selection of Tomonari’s films. Not to be missed!

@academymuseum
@theacademy
@kj__relthmiller
@lightcone_officiel
@canyoncinema

“One of the leading experimental filmmakers of the 21st century, Tomonari Nishikawa began his practice in 2003, exploring the tangible qualities and apparatus of filmmaking. ‘Just as an artist carries a sketchbook and practices drawing,’ Nishikawa said of his early ‘Sketch Film(s) #1–5’, ‘I carried a Super 8 camera and practiced stop-motion animation of the lines and shapes I see in public spaces’, documenting city streets in his native Japan and in New York. Using in-camera techniques and strategic masking to capture life in compounded fragments, Nishikawa creates tiny magic tricks of time and space, elegantly showcased in ‘Ten Mornings Ten Evenings and One Horizon’ (2016), a contemplative short that features bridges in his hometown near Mount Ōkawairi, Japan, and his ... ‘slipstream city symphonies’ (Mubi Notebook) like ‘Shibuya–Tokyo’ (2010) and ‘45 7 Broadway’ (2013). Nishikawa’s films have been showcased around the world, lauded at international festivals, and deeply appreciated by his students at Binghamton University in New York. When Nishikawa passed away suddenly in April 2025, at the age of 55, he left behind his influence on a generation of aspiring filmmakers and a collection of remarkable shortform works, showcased in near completion in this program.”––The Academy Museum of Motion Pictures

Program & notes: K.J. Relth-Miller. Images courtesy © the estate of Tomonari Nishikawa

MCFF is ecstatic to announce brilliant and beloved filmmaker Mike Stoltz as one of our recent 2025–2026 Chrysalis Fellows 🎉This fellowship supports the debut museum installation of “Pinktoned (Exploded View)”, on display at the Hammer Museum as part the “Made in L.A.” exhibition (closing March 1, 2026).✨And next: The Museum of Modern Art will present the World Premiere theatrical screening of Stoltz’s brand-new, single-channel 16mm film “Pinktoned” (2026), showing March 7 and March 9, 2026 as part of MoMA Documentary Fortnight. 💗Mike will be at MoMA for a conversation about the new work. Please attend and say hello! 💗💗💗

@m1k35t0ltz
@hammer_museum
@themuseumofmodernart
@now_instant

We’re looking forward to many more screenings of “Pinktoned” (2026) to come. 

Constructed with footage of passersby in East Hollywood interspersed with still images from an archive of photographic slides Stotlz found at a rummage sale at the Echo Park Film Center, “Pinktoned” envisions the streets of Los Angeles covered with wheat-pasted movie posters for “Underground”, a 1976 documentary about the Weather Underground. Due to the age of the slides, the full spectrum of color has deteriorated into a gradation of pinks. By “exploding” the finished film into its component parts, Stoltz furthers his engagement with the (im)materiality of the moving image to emphasize the physical and dimensional experience of perception. —Hammer Museum

Mike Stoltz (USA) is a filmmaker working primarily with 16mm to foreground the fundamental properties of the medium: image, sound, and time. His films have been exhibited widely at venues including the Toronto, New York, Hong Kong, and Rotterdam Film Festivals, and are in the collections of the Academy of Motion Pictures Arts and Sciences Film Archive, the California Institute of the Arts, and other institutions. He lives and works in Los Angeles.

MCFF’s Chrysalis Fellowship champions artists and filmmakers from Canada and around the world. We support adventurous moving image artists in the creation, dissemination and exhibition of new works.  

Images courtesy the artist © Mike Stoltz

MCFF is ecstatic to announce brilliant and beloved filmmaker Mike Stoltz as one of our recent 2025–2026 Chrysalis Fellows 🎉This fellowship supports the debut museum installation of “Pinktoned (Exploded View)”, on display at the Hammer Museum as part the “Made in L.A.” exhibition (closing March 1, 2026).✨And next: The Museum of Modern Art will present the World Premiere theatrical screening of Stoltz’s brand-new, single-channel 16mm film “Pinktoned” (2026), showing March 7 and March 9, 2026 as part of MoMA Documentary Fortnight. 💗Mike will be at MoMA for a conversation about the new work. Please attend and say hello! 💗💗💗

@m1k35t0ltz
@hammer_museum
@themuseumofmodernart
@now_instant

We’re looking forward to many more screenings of “Pinktoned” (2026) to come. 

Constructed with footage of passersby in East Hollywood interspersed with still images from an archive of photographic slides Stotlz found at a rummage sale at the Echo Park Film Center, “Pinktoned” envisions the streets of Los Angeles covered with wheat-pasted movie posters for “Underground”, a 1976 documentary about the Weather Underground. Due to the age of the slides, the full spectrum of color has deteriorated into a gradation of pinks. By “exploding” the finished film into its component parts, Stoltz furthers his engagement with the (im)materiality of the moving image to emphasize the physical and dimensional experience of perception. —Hammer Museum

Mike Stoltz (USA) is a filmmaker working primarily with 16mm to foreground the fundamental properties of the medium: image, sound, and time. His films have been exhibited widely at venues including the Toronto, New York, Hong Kong, and Rotterdam Film Festivals, and are in the collections of the Academy of Motion Pictures Arts and Sciences Film Archive, the California Institute of the Arts, and other institutions. He lives and works in Los Angeles.

MCFF’s Chrysalis Fellowship champions artists and filmmakers from Canada and around the world. We support adventurous moving image artists in the creation, dissemination and exhibition of new works.  

Images courtesy the artist © Mike Stoltz

MCFF is ecstatic to announce brilliant and beloved filmmaker Mike Stoltz as one of our recent 2025–2026 Chrysalis Fellows 🎉This fellowship supports the debut museum installation of “Pinktoned (Exploded View)”, on display at the Hammer Museum as part the “Made in L.A.” exhibition (closing March 1, 2026).✨And next: The Museum of Modern Art will present the World Premiere theatrical screening of Stoltz’s brand-new, single-channel 16mm film “Pinktoned” (2026), showing March 7 and March 9, 2026 as part of MoMA Documentary Fortnight. 💗Mike will be at MoMA for a conversation about the new work. Please attend and say hello! 💗💗💗

@m1k35t0ltz
@hammer_museum
@themuseumofmodernart
@now_instant

We’re looking forward to many more screenings of “Pinktoned” (2026) to come. 

Constructed with footage of passersby in East Hollywood interspersed with still images from an archive of photographic slides Stotlz found at a rummage sale at the Echo Park Film Center, “Pinktoned” envisions the streets of Los Angeles covered with wheat-pasted movie posters for “Underground”, a 1976 documentary about the Weather Underground. Due to the age of the slides, the full spectrum of color has deteriorated into a gradation of pinks. By “exploding” the finished film into its component parts, Stoltz furthers his engagement with the (im)materiality of the moving image to emphasize the physical and dimensional experience of perception. —Hammer Museum

Mike Stoltz (USA) is a filmmaker working primarily with 16mm to foreground the fundamental properties of the medium: image, sound, and time. His films have been exhibited widely at venues including the Toronto, New York, Hong Kong, and Rotterdam Film Festivals, and are in the collections of the Academy of Motion Pictures Arts and Sciences Film Archive, the California Institute of the Arts, and other institutions. He lives and works in Los Angeles.

MCFF’s Chrysalis Fellowship champions artists and filmmakers from Canada and around the world. We support adventurous moving image artists in the creation, dissemination and exhibition of new works.  

Images courtesy the artist © Mike Stoltz

MCFF is ecstatic to announce brilliant and beloved filmmaker Mike Stoltz as one of our recent 2025–2026 Chrysalis Fellows 🎉This fellowship supports the debut museum installation of “Pinktoned (Exploded View)”, on display at the Hammer Museum as part the “Made in L.A.” exhibition (closing March 1, 2026).✨And next: The Museum of Modern Art will present the World Premiere theatrical screening of Stoltz’s brand-new, single-channel 16mm film “Pinktoned” (2026), showing March 7 and March 9, 2026 as part of MoMA Documentary Fortnight. 💗Mike will be at MoMA for a conversation about the new work. Please attend and say hello! 💗💗💗

@m1k35t0ltz
@hammer_museum
@themuseumofmodernart
@now_instant

We’re looking forward to many more screenings of “Pinktoned” (2026) to come. 

Constructed with footage of passersby in East Hollywood interspersed with still images from an archive of photographic slides Stotlz found at a rummage sale at the Echo Park Film Center, “Pinktoned” envisions the streets of Los Angeles covered with wheat-pasted movie posters for “Underground”, a 1976 documentary about the Weather Underground. Due to the age of the slides, the full spectrum of color has deteriorated into a gradation of pinks. By “exploding” the finished film into its component parts, Stoltz furthers his engagement with the (im)materiality of the moving image to emphasize the physical and dimensional experience of perception. —Hammer Museum

Mike Stoltz (USA) is a filmmaker working primarily with 16mm to foreground the fundamental properties of the medium: image, sound, and time. His films have been exhibited widely at venues including the Toronto, New York, Hong Kong, and Rotterdam Film Festivals, and are in the collections of the Academy of Motion Pictures Arts and Sciences Film Archive, the California Institute of the Arts, and other institutions. He lives and works in Los Angeles.

MCFF’s Chrysalis Fellowship champions artists and filmmakers from Canada and around the world. We support adventurous moving image artists in the creation, dissemination and exhibition of new works.  

Images courtesy the artist © Mike Stoltz

MCFF is ecstatic to announce brilliant and beloved filmmaker Mike Stoltz as one of our recent 2025–2026 Chrysalis Fellows 🎉This fellowship supports the debut museum installation of “Pinktoned (Exploded View)”, on display at the Hammer Museum as part the “Made in L.A.” exhibition (closing March 1, 2026).✨And next: The Museum of Modern Art will present the World Premiere theatrical screening of Stoltz’s brand-new, single-channel 16mm film “Pinktoned” (2026), showing March 7 and March 9, 2026 as part of MoMA Documentary Fortnight. 💗Mike will be at MoMA for a conversation about the new work. Please attend and say hello! 💗💗💗

@m1k35t0ltz
@hammer_museum
@themuseumofmodernart
@now_instant

We’re looking forward to many more screenings of “Pinktoned” (2026) to come. 

Constructed with footage of passersby in East Hollywood interspersed with still images from an archive of photographic slides Stotlz found at a rummage sale at the Echo Park Film Center, “Pinktoned” envisions the streets of Los Angeles covered with wheat-pasted movie posters for “Underground”, a 1976 documentary about the Weather Underground. Due to the age of the slides, the full spectrum of color has deteriorated into a gradation of pinks. By “exploding” the finished film into its component parts, Stoltz furthers his engagement with the (im)materiality of the moving image to emphasize the physical and dimensional experience of perception. —Hammer Museum

Mike Stoltz (USA) is a filmmaker working primarily with 16mm to foreground the fundamental properties of the medium: image, sound, and time. His films have been exhibited widely at venues including the Toronto, New York, Hong Kong, and Rotterdam Film Festivals, and are in the collections of the Academy of Motion Pictures Arts and Sciences Film Archive, the California Institute of the Arts, and other institutions. He lives and works in Los Angeles.

MCFF’s Chrysalis Fellowship champions artists and filmmakers from Canada and around the world. We support adventurous moving image artists in the creation, dissemination and exhibition of new works.  

Images courtesy the artist © Mike Stoltz

MCFF is ecstatic to announce brilliant and beloved filmmaker Mike Stoltz as one of our recent 2025–2026 Chrysalis Fellows 🎉This fellowship supports the debut museum installation of “Pinktoned (Exploded View)”, on display at the Hammer Museum as part the “Made in L.A.” exhibition (closing March 1, 2026).✨And next: The Museum of Modern Art will present the World Premiere theatrical screening of Stoltz’s brand-new, single-channel 16mm film “Pinktoned” (2026), showing March 7 and March 9, 2026 as part of MoMA Documentary Fortnight. 💗Mike will be at MoMA for a conversation about the new work. Please attend and say hello! 💗💗💗

@m1k35t0ltz
@hammer_museum
@themuseumofmodernart
@now_instant

We’re looking forward to many more screenings of “Pinktoned” (2026) to come. 

Constructed with footage of passersby in East Hollywood interspersed with still images from an archive of photographic slides Stotlz found at a rummage sale at the Echo Park Film Center, “Pinktoned” envisions the streets of Los Angeles covered with wheat-pasted movie posters for “Underground”, a 1976 documentary about the Weather Underground. Due to the age of the slides, the full spectrum of color has deteriorated into a gradation of pinks. By “exploding” the finished film into its component parts, Stoltz furthers his engagement with the (im)materiality of the moving image to emphasize the physical and dimensional experience of perception. —Hammer Museum

Mike Stoltz (USA) is a filmmaker working primarily with 16mm to foreground the fundamental properties of the medium: image, sound, and time. His films have been exhibited widely at venues including the Toronto, New York, Hong Kong, and Rotterdam Film Festivals, and are in the collections of the Academy of Motion Pictures Arts and Sciences Film Archive, the California Institute of the Arts, and other institutions. He lives and works in Los Angeles.

MCFF’s Chrysalis Fellowship champions artists and filmmakers from Canada and around the world. We support adventurous moving image artists in the creation, dissemination and exhibition of new works.  

Images courtesy the artist © Mike Stoltz

MCFF is ecstatic to announce brilliant and beloved filmmaker Mike Stoltz as one of our recent 2025–2026 Chrysalis Fellows 🎉This fellowship supports the debut museum installation of “Pinktoned (Exploded View)”, on display at the Hammer Museum as part the “Made in L.A.” exhibition (closing March 1, 2026).✨And next: The Museum of Modern Art will present the World Premiere theatrical screening of Stoltz’s brand-new, single-channel 16mm film “Pinktoned” (2026), showing March 7 and March 9, 2026 as part of MoMA Documentary Fortnight. 💗Mike will be at MoMA for a conversation about the new work. Please attend and say hello! 💗💗💗

@m1k35t0ltz
@hammer_museum
@themuseumofmodernart
@now_instant

We’re looking forward to many more screenings of “Pinktoned” (2026) to come. 

Constructed with footage of passersby in East Hollywood interspersed with still images from an archive of photographic slides Stotlz found at a rummage sale at the Echo Park Film Center, “Pinktoned” envisions the streets of Los Angeles covered with wheat-pasted movie posters for “Underground”, a 1976 documentary about the Weather Underground. Due to the age of the slides, the full spectrum of color has deteriorated into a gradation of pinks. By “exploding” the finished film into its component parts, Stoltz furthers his engagement with the (im)materiality of the moving image to emphasize the physical and dimensional experience of perception. —Hammer Museum

Mike Stoltz (USA) is a filmmaker working primarily with 16mm to foreground the fundamental properties of the medium: image, sound, and time. His films have been exhibited widely at venues including the Toronto, New York, Hong Kong, and Rotterdam Film Festivals, and are in the collections of the Academy of Motion Pictures Arts and Sciences Film Archive, the California Institute of the Arts, and other institutions. He lives and works in Los Angeles.

MCFF’s Chrysalis Fellowship champions artists and filmmakers from Canada and around the world. We support adventurous moving image artists in the creation, dissemination and exhibition of new works.  

Images courtesy the artist © Mike Stoltz

MCFF is ecstatic to announce brilliant and beloved filmmaker Mike Stoltz as one of our recent 2025–2026 Chrysalis Fellows 🎉This fellowship supports the debut museum installation of “Pinktoned (Exploded View)”, on display at the Hammer Museum as part the “Made in L.A.” exhibition (closing March 1, 2026).✨And next: The Museum of Modern Art will present the World Premiere theatrical screening of Stoltz’s brand-new, single-channel 16mm film “Pinktoned” (2026), showing March 7 and March 9, 2026 as part of MoMA Documentary Fortnight. 💗Mike will be at MoMA for a conversation about the new work. Please attend and say hello! 💗💗💗

@m1k35t0ltz
@hammer_museum
@themuseumofmodernart
@now_instant

We’re looking forward to many more screenings of “Pinktoned” (2026) to come. 

Constructed with footage of passersby in East Hollywood interspersed with still images from an archive of photographic slides Stotlz found at a rummage sale at the Echo Park Film Center, “Pinktoned” envisions the streets of Los Angeles covered with wheat-pasted movie posters for “Underground”, a 1976 documentary about the Weather Underground. Due to the age of the slides, the full spectrum of color has deteriorated into a gradation of pinks. By “exploding” the finished film into its component parts, Stoltz furthers his engagement with the (im)materiality of the moving image to emphasize the physical and dimensional experience of perception. —Hammer Museum

Mike Stoltz (USA) is a filmmaker working primarily with 16mm to foreground the fundamental properties of the medium: image, sound, and time. His films have been exhibited widely at venues including the Toronto, New York, Hong Kong, and Rotterdam Film Festivals, and are in the collections of the Academy of Motion Pictures Arts and Sciences Film Archive, the California Institute of the Arts, and other institutions. He lives and works in Los Angeles.

MCFF’s Chrysalis Fellowship champions artists and filmmakers from Canada and around the world. We support adventurous moving image artists in the creation, dissemination and exhibition of new works.  

Images courtesy the artist © Mike Stoltz

MCFF is ecstatic to announce brilliant and beloved filmmaker Mike Stoltz as one of our recent 2025–2026 Chrysalis Fellows 🎉This fellowship supports the debut museum installation of “Pinktoned (Exploded View)”, on display at the Hammer Museum as part the “Made in L.A.” exhibition (closing March 1, 2026).✨And next: The Museum of Modern Art will present the World Premiere theatrical screening of Stoltz’s brand-new, single-channel 16mm film “Pinktoned” (2026), showing March 7 and March 9, 2026 as part of MoMA Documentary Fortnight. 💗Mike will be at MoMA for a conversation about the new work. Please attend and say hello! 💗💗💗

@m1k35t0ltz
@hammer_museum
@themuseumofmodernart
@now_instant

We’re looking forward to many more screenings of “Pinktoned” (2026) to come. 

Constructed with footage of passersby in East Hollywood interspersed with still images from an archive of photographic slides Stotlz found at a rummage sale at the Echo Park Film Center, “Pinktoned” envisions the streets of Los Angeles covered with wheat-pasted movie posters for “Underground”, a 1976 documentary about the Weather Underground. Due to the age of the slides, the full spectrum of color has deteriorated into a gradation of pinks. By “exploding” the finished film into its component parts, Stoltz furthers his engagement with the (im)materiality of the moving image to emphasize the physical and dimensional experience of perception. —Hammer Museum

Mike Stoltz (USA) is a filmmaker working primarily with 16mm to foreground the fundamental properties of the medium: image, sound, and time. His films have been exhibited widely at venues including the Toronto, New York, Hong Kong, and Rotterdam Film Festivals, and are in the collections of the Academy of Motion Pictures Arts and Sciences Film Archive, the California Institute of the Arts, and other institutions. He lives and works in Los Angeles.

MCFF’s Chrysalis Fellowship champions artists and filmmakers from Canada and around the world. We support adventurous moving image artists in the creation, dissemination and exhibition of new works.  

Images courtesy the artist © Mike Stoltz

MCFF is ecstatic to announce brilliant and beloved filmmaker Mike Stoltz as one of our recent 2025–2026 Chrysalis Fellows 🎉This fellowship supports the debut museum installation of “Pinktoned (Exploded View)”, on display at the Hammer Museum as part the “Made in L.A.” exhibition (closing March 1, 2026).✨And next: The Museum of Modern Art will present the World Premiere theatrical screening of Stoltz’s brand-new, single-channel 16mm film “Pinktoned” (2026), showing March 7 and March 9, 2026 as part of MoMA Documentary Fortnight. 💗Mike will be at MoMA for a conversation about the new work. Please attend and say hello! 💗💗💗

@m1k35t0ltz
@hammer_museum
@themuseumofmodernart
@now_instant

We’re looking forward to many more screenings of “Pinktoned” (2026) to come. 

Constructed with footage of passersby in East Hollywood interspersed with still images from an archive of photographic slides Stotlz found at a rummage sale at the Echo Park Film Center, “Pinktoned” envisions the streets of Los Angeles covered with wheat-pasted movie posters for “Underground”, a 1976 documentary about the Weather Underground. Due to the age of the slides, the full spectrum of color has deteriorated into a gradation of pinks. By “exploding” the finished film into its component parts, Stoltz furthers his engagement with the (im)materiality of the moving image to emphasize the physical and dimensional experience of perception. —Hammer Museum

Mike Stoltz (USA) is a filmmaker working primarily with 16mm to foreground the fundamental properties of the medium: image, sound, and time. His films have been exhibited widely at venues including the Toronto, New York, Hong Kong, and Rotterdam Film Festivals, and are in the collections of the Academy of Motion Pictures Arts and Sciences Film Archive, the California Institute of the Arts, and other institutions. He lives and works in Los Angeles.

MCFF’s Chrysalis Fellowship champions artists and filmmakers from Canada and around the world. We support adventurous moving image artists in the creation, dissemination and exhibition of new works.  

Images courtesy the artist © Mike Stoltz

MCFF is ecstatic to announce brilliant and beloved filmmaker Mike Stoltz as one of our recent 2025–2026 Chrysalis Fellows 🎉This fellowship supports the debut museum installation of “Pinktoned (Exploded View)”, on display at the Hammer Museum as part the “Made in L.A.” exhibition (closing March 1, 2026).✨And next: The Museum of Modern Art will present the World Premiere theatrical screening of Stoltz’s brand-new, single-channel 16mm film “Pinktoned” (2026), showing March 7 and March 9, 2026 as part of MoMA Documentary Fortnight. 💗Mike will be at MoMA for a conversation about the new work. Please attend and say hello! 💗💗💗

@m1k35t0ltz
@hammer_museum
@themuseumofmodernart
@now_instant

We’re looking forward to many more screenings of “Pinktoned” (2026) to come. 

Constructed with footage of passersby in East Hollywood interspersed with still images from an archive of photographic slides Stotlz found at a rummage sale at the Echo Park Film Center, “Pinktoned” envisions the streets of Los Angeles covered with wheat-pasted movie posters for “Underground”, a 1976 documentary about the Weather Underground. Due to the age of the slides, the full spectrum of color has deteriorated into a gradation of pinks. By “exploding” the finished film into its component parts, Stoltz furthers his engagement with the (im)materiality of the moving image to emphasize the physical and dimensional experience of perception. —Hammer Museum

Mike Stoltz (USA) is a filmmaker working primarily with 16mm to foreground the fundamental properties of the medium: image, sound, and time. His films have been exhibited widely at venues including the Toronto, New York, Hong Kong, and Rotterdam Film Festivals, and are in the collections of the Academy of Motion Pictures Arts and Sciences Film Archive, the California Institute of the Arts, and other institutions. He lives and works in Los Angeles.

MCFF’s Chrysalis Fellowship champions artists and filmmakers from Canada and around the world. We support adventurous moving image artists in the creation, dissemination and exhibition of new works.  

Images courtesy the artist © Mike Stoltz

Media City Film Festival and Trinosophes Projects are OVER THE MOON  to host celebrated filmmaker Kevin Jerome Everson in DETROIT and offer FREE public screenings of his films at Michigan Central and the Detroit Public Library’s gorgeous main branch (across from the DIA). 

This series features 15+ films made by Everson across the past decade. Curated by MCFF Artistic Director Oona Mosna, programs range from early found footage works to studied compositions of celestial bodies, capturing elements from both MCFF’s long history of presenting Everson’s films and his globally celebrated approach to moving images, rooted in the experience of the Midwest Black working class. All are welcome to join! 

✨KEYS TO THE CITY: An Evening with Kevin Jerome Everson✨
🗓️Satuday, November 15 
⏰6 PM
📍Newlab at Michigan Central
🎟️ Free 

Conversation between Kevin Jerome Everson and Danielle Eliska, moderated by Kelly Kivland, Director and Lead Curator, Michigan Central Art. Introduction by Rebecca Mazzei, Artistic Director, Trinosophes Projects. Partners: Michigan Central Art, Modern Ancient Brown & NOVA24 Photo + Film Festival 

✨THREE QUARTERS: The Cinema of Kevin Jerome Everson ✨
🗓️Tuesday, November 18
⏰ 6 PM
📍Detroit Public Library Main Branch 
🎟️ Free 

Introduction by Paige Wood. Partners: Detroit Public Library & Detroit Narrative Agency 

Everson visits the area to begin a new Knight Arts Foundation-supported MCFF commissioned film observing celestial space from the vantage point of metro Detroit! Special thanks to the Knight Foundation, Michigan Central, Detroit Public Library, Modern Ancient Brown Foundation, Detroit Narrative Agency, Warren Astronomical Society, Cranbrook Observatory, Picture Palace Pictures, and NOVA24 Photo + Film Festival. 

Lead image: Portrait © Léa Rener courtesy Cinema du réel, Paris. Film stills © Kevin Jerome Everson courtesy the artist; trilobite-arts DAC and Picture Palace Pictures. Films appear courtesy the artist and Picture Palace Pictures. 

@michigancentraldetroit @detroitpubliclibrary

Media City Film Festival and Trinosophes Projects are OVER THE MOON  to host celebrated filmmaker Kevin Jerome Everson in DETROIT and offer FREE public screenings of his films at Michigan Central and the Detroit Public Library’s gorgeous main branch (across from the DIA). 

This series features 15+ films made by Everson across the past decade. Curated by MCFF Artistic Director Oona Mosna, programs range from early found footage works to studied compositions of celestial bodies, capturing elements from both MCFF’s long history of presenting Everson’s films and his globally celebrated approach to moving images, rooted in the experience of the Midwest Black working class. All are welcome to join! 

✨KEYS TO THE CITY: An Evening with Kevin Jerome Everson✨
🗓️Satuday, November 15 
⏰6 PM
📍Newlab at Michigan Central
🎟️ Free 

Conversation between Kevin Jerome Everson and Danielle Eliska, moderated by Kelly Kivland, Director and Lead Curator, Michigan Central Art. Introduction by Rebecca Mazzei, Artistic Director, Trinosophes Projects. Partners: Michigan Central Art, Modern Ancient Brown & NOVA24 Photo + Film Festival 

✨THREE QUARTERS: The Cinema of Kevin Jerome Everson ✨
🗓️Tuesday, November 18
⏰ 6 PM
📍Detroit Public Library Main Branch 
🎟️ Free 

Introduction by Paige Wood. Partners: Detroit Public Library & Detroit Narrative Agency 

Everson visits the area to begin a new Knight Arts Foundation-supported MCFF commissioned film observing celestial space from the vantage point of metro Detroit! Special thanks to the Knight Foundation, Michigan Central, Detroit Public Library, Modern Ancient Brown Foundation, Detroit Narrative Agency, Warren Astronomical Society, Cranbrook Observatory, Picture Palace Pictures, and NOVA24 Photo + Film Festival. 

Lead image: Portrait © Léa Rener courtesy Cinema du réel, Paris. Film stills © Kevin Jerome Everson courtesy the artist; trilobite-arts DAC and Picture Palace Pictures. Films appear courtesy the artist and Picture Palace Pictures. 

@michigancentraldetroit @detroitpubliclibrary

Media City Film Festival and Trinosophes Projects are OVER THE MOON  to host celebrated filmmaker Kevin Jerome Everson in DETROIT and offer FREE public screenings of his films at Michigan Central and the Detroit Public Library’s gorgeous main branch (across from the DIA). 

This series features 15+ films made by Everson across the past decade. Curated by MCFF Artistic Director Oona Mosna, programs range from early found footage works to studied compositions of celestial bodies, capturing elements from both MCFF’s long history of presenting Everson’s films and his globally celebrated approach to moving images, rooted in the experience of the Midwest Black working class. All are welcome to join! 

✨KEYS TO THE CITY: An Evening with Kevin Jerome Everson✨
🗓️Satuday, November 15 
⏰6 PM
📍Newlab at Michigan Central
🎟️ Free 

Conversation between Kevin Jerome Everson and Danielle Eliska, moderated by Kelly Kivland, Director and Lead Curator, Michigan Central Art. Introduction by Rebecca Mazzei, Artistic Director, Trinosophes Projects. Partners: Michigan Central Art, Modern Ancient Brown & NOVA24 Photo + Film Festival 

✨THREE QUARTERS: The Cinema of Kevin Jerome Everson ✨
🗓️Tuesday, November 18
⏰ 6 PM
📍Detroit Public Library Main Branch 
🎟️ Free 

Introduction by Paige Wood. Partners: Detroit Public Library & Detroit Narrative Agency 

Everson visits the area to begin a new Knight Arts Foundation-supported MCFF commissioned film observing celestial space from the vantage point of metro Detroit! Special thanks to the Knight Foundation, Michigan Central, Detroit Public Library, Modern Ancient Brown Foundation, Detroit Narrative Agency, Warren Astronomical Society, Cranbrook Observatory, Picture Palace Pictures, and NOVA24 Photo + Film Festival. 

Lead image: Portrait © Léa Rener courtesy Cinema du réel, Paris. Film stills © Kevin Jerome Everson courtesy the artist; trilobite-arts DAC and Picture Palace Pictures. Films appear courtesy the artist and Picture Palace Pictures. 

@michigancentraldetroit @detroitpubliclibrary

Media City Film Festival and Trinosophes Projects are OVER THE MOON  to host celebrated filmmaker Kevin Jerome Everson in DETROIT and offer FREE public screenings of his films at Michigan Central and the Detroit Public Library’s gorgeous main branch (across from the DIA). 

This series features 15+ films made by Everson across the past decade. Curated by MCFF Artistic Director Oona Mosna, programs range from early found footage works to studied compositions of celestial bodies, capturing elements from both MCFF’s long history of presenting Everson’s films and his globally celebrated approach to moving images, rooted in the experience of the Midwest Black working class. All are welcome to join! 

✨KEYS TO THE CITY: An Evening with Kevin Jerome Everson✨
🗓️Satuday, November 15 
⏰6 PM
📍Newlab at Michigan Central
🎟️ Free 

Conversation between Kevin Jerome Everson and Danielle Eliska, moderated by Kelly Kivland, Director and Lead Curator, Michigan Central Art. Introduction by Rebecca Mazzei, Artistic Director, Trinosophes Projects. Partners: Michigan Central Art, Modern Ancient Brown & NOVA24 Photo + Film Festival 

✨THREE QUARTERS: The Cinema of Kevin Jerome Everson ✨
🗓️Tuesday, November 18
⏰ 6 PM
📍Detroit Public Library Main Branch 
🎟️ Free 

Introduction by Paige Wood. Partners: Detroit Public Library & Detroit Narrative Agency 

Everson visits the area to begin a new Knight Arts Foundation-supported MCFF commissioned film observing celestial space from the vantage point of metro Detroit! Special thanks to the Knight Foundation, Michigan Central, Detroit Public Library, Modern Ancient Brown Foundation, Detroit Narrative Agency, Warren Astronomical Society, Cranbrook Observatory, Picture Palace Pictures, and NOVA24 Photo + Film Festival. 

Lead image: Portrait © Léa Rener courtesy Cinema du réel, Paris. Film stills © Kevin Jerome Everson courtesy the artist; trilobite-arts DAC and Picture Palace Pictures. Films appear courtesy the artist and Picture Palace Pictures. 

@michigancentraldetroit @detroitpubliclibrary

Media City Film Festival and Trinosophes Projects are OVER THE MOON  to host celebrated filmmaker Kevin Jerome Everson in DETROIT and offer FREE public screenings of his films at Michigan Central and the Detroit Public Library’s gorgeous main branch (across from the DIA). 

This series features 15+ films made by Everson across the past decade. Curated by MCFF Artistic Director Oona Mosna, programs range from early found footage works to studied compositions of celestial bodies, capturing elements from both MCFF’s long history of presenting Everson’s films and his globally celebrated approach to moving images, rooted in the experience of the Midwest Black working class. All are welcome to join! 

✨KEYS TO THE CITY: An Evening with Kevin Jerome Everson✨
🗓️Satuday, November 15 
⏰6 PM
📍Newlab at Michigan Central
🎟️ Free 

Conversation between Kevin Jerome Everson and Danielle Eliska, moderated by Kelly Kivland, Director and Lead Curator, Michigan Central Art. Introduction by Rebecca Mazzei, Artistic Director, Trinosophes Projects. Partners: Michigan Central Art, Modern Ancient Brown & NOVA24 Photo + Film Festival 

✨THREE QUARTERS: The Cinema of Kevin Jerome Everson ✨
🗓️Tuesday, November 18
⏰ 6 PM
📍Detroit Public Library Main Branch 
🎟️ Free 

Introduction by Paige Wood. Partners: Detroit Public Library & Detroit Narrative Agency 

Everson visits the area to begin a new Knight Arts Foundation-supported MCFF commissioned film observing celestial space from the vantage point of metro Detroit! Special thanks to the Knight Foundation, Michigan Central, Detroit Public Library, Modern Ancient Brown Foundation, Detroit Narrative Agency, Warren Astronomical Society, Cranbrook Observatory, Picture Palace Pictures, and NOVA24 Photo + Film Festival. 

Lead image: Portrait © Léa Rener courtesy Cinema du réel, Paris. Film stills © Kevin Jerome Everson courtesy the artist; trilobite-arts DAC and Picture Palace Pictures. Films appear courtesy the artist and Picture Palace Pictures. 

@michigancentraldetroit @detroitpubliclibrary

Media City Film Festival and Trinosophes Projects are OVER THE MOON  to host celebrated filmmaker Kevin Jerome Everson in DETROIT and offer FREE public screenings of his films at Michigan Central and the Detroit Public Library’s gorgeous main branch (across from the DIA). 

This series features 15+ films made by Everson across the past decade. Curated by MCFF Artistic Director Oona Mosna, programs range from early found footage works to studied compositions of celestial bodies, capturing elements from both MCFF’s long history of presenting Everson’s films and his globally celebrated approach to moving images, rooted in the experience of the Midwest Black working class. All are welcome to join! 

✨KEYS TO THE CITY: An Evening with Kevin Jerome Everson✨
🗓️Satuday, November 15 
⏰6 PM
📍Newlab at Michigan Central
🎟️ Free 

Conversation between Kevin Jerome Everson and Danielle Eliska, moderated by Kelly Kivland, Director and Lead Curator, Michigan Central Art. Introduction by Rebecca Mazzei, Artistic Director, Trinosophes Projects. Partners: Michigan Central Art, Modern Ancient Brown & NOVA24 Photo + Film Festival 

✨THREE QUARTERS: The Cinema of Kevin Jerome Everson ✨
🗓️Tuesday, November 18
⏰ 6 PM
📍Detroit Public Library Main Branch 
🎟️ Free 

Introduction by Paige Wood. Partners: Detroit Public Library & Detroit Narrative Agency 

Everson visits the area to begin a new Knight Arts Foundation-supported MCFF commissioned film observing celestial space from the vantage point of metro Detroit! Special thanks to the Knight Foundation, Michigan Central, Detroit Public Library, Modern Ancient Brown Foundation, Detroit Narrative Agency, Warren Astronomical Society, Cranbrook Observatory, Picture Palace Pictures, and NOVA24 Photo + Film Festival. 

Lead image: Portrait © Léa Rener courtesy Cinema du réel, Paris. Film stills © Kevin Jerome Everson courtesy the artist; trilobite-arts DAC and Picture Palace Pictures. Films appear courtesy the artist and Picture Palace Pictures. 

@michigancentraldetroit @detroitpubliclibrary

Media City Film Festival and Trinosophes Projects are OVER THE MOON  to host celebrated filmmaker Kevin Jerome Everson in DETROIT and offer FREE public screenings of his films at Michigan Central and the Detroit Public Library’s gorgeous main branch (across from the DIA). 

This series features 15+ films made by Everson across the past decade. Curated by MCFF Artistic Director Oona Mosna, programs range from early found footage works to studied compositions of celestial bodies, capturing elements from both MCFF’s long history of presenting Everson’s films and his globally celebrated approach to moving images, rooted in the experience of the Midwest Black working class. All are welcome to join! 

✨KEYS TO THE CITY: An Evening with Kevin Jerome Everson✨
🗓️Satuday, November 15 
⏰6 PM
📍Newlab at Michigan Central
🎟️ Free 

Conversation between Kevin Jerome Everson and Danielle Eliska, moderated by Kelly Kivland, Director and Lead Curator, Michigan Central Art. Introduction by Rebecca Mazzei, Artistic Director, Trinosophes Projects. Partners: Michigan Central Art, Modern Ancient Brown & NOVA24 Photo + Film Festival 

✨THREE QUARTERS: The Cinema of Kevin Jerome Everson ✨
🗓️Tuesday, November 18
⏰ 6 PM
📍Detroit Public Library Main Branch 
🎟️ Free 

Introduction by Paige Wood. Partners: Detroit Public Library & Detroit Narrative Agency 

Everson visits the area to begin a new Knight Arts Foundation-supported MCFF commissioned film observing celestial space from the vantage point of metro Detroit! Special thanks to the Knight Foundation, Michigan Central, Detroit Public Library, Modern Ancient Brown Foundation, Detroit Narrative Agency, Warren Astronomical Society, Cranbrook Observatory, Picture Palace Pictures, and NOVA24 Photo + Film Festival. 

Lead image: Portrait © Léa Rener courtesy Cinema du réel, Paris. Film stills © Kevin Jerome Everson courtesy the artist; trilobite-arts DAC and Picture Palace Pictures. Films appear courtesy the artist and Picture Palace Pictures. 

@michigancentraldetroit @detroitpubliclibrary

Media City Film Festival and Trinosophes Projects are OVER THE MOON  to host celebrated filmmaker Kevin Jerome Everson in DETROIT and offer FREE public screenings of his films at Michigan Central and the Detroit Public Library’s gorgeous main branch (across from the DIA). 

This series features 15+ films made by Everson across the past decade. Curated by MCFF Artistic Director Oona Mosna, programs range from early found footage works to studied compositions of celestial bodies, capturing elements from both MCFF’s long history of presenting Everson’s films and his globally celebrated approach to moving images, rooted in the experience of the Midwest Black working class. All are welcome to join! 

✨KEYS TO THE CITY: An Evening with Kevin Jerome Everson✨
🗓️Satuday, November 15 
⏰6 PM
📍Newlab at Michigan Central
🎟️ Free 

Conversation between Kevin Jerome Everson and Danielle Eliska, moderated by Kelly Kivland, Director and Lead Curator, Michigan Central Art. Introduction by Rebecca Mazzei, Artistic Director, Trinosophes Projects. Partners: Michigan Central Art, Modern Ancient Brown & NOVA24 Photo + Film Festival 

✨THREE QUARTERS: The Cinema of Kevin Jerome Everson ✨
🗓️Tuesday, November 18
⏰ 6 PM
📍Detroit Public Library Main Branch 
🎟️ Free 

Introduction by Paige Wood. Partners: Detroit Public Library & Detroit Narrative Agency 

Everson visits the area to begin a new Knight Arts Foundation-supported MCFF commissioned film observing celestial space from the vantage point of metro Detroit! Special thanks to the Knight Foundation, Michigan Central, Detroit Public Library, Modern Ancient Brown Foundation, Detroit Narrative Agency, Warren Astronomical Society, Cranbrook Observatory, Picture Palace Pictures, and NOVA24 Photo + Film Festival. 

Lead image: Portrait © Léa Rener courtesy Cinema du réel, Paris. Film stills © Kevin Jerome Everson courtesy the artist; trilobite-arts DAC and Picture Palace Pictures. Films appear courtesy the artist and Picture Palace Pictures. 

@michigancentraldetroit @detroitpubliclibrary

Media City Film Festival and Trinosophes Projects are OVER THE MOON  to host celebrated filmmaker Kevin Jerome Everson in DETROIT and offer FREE public screenings of his films at Michigan Central and the Detroit Public Library’s gorgeous main branch (across from the DIA). 

This series features 15+ films made by Everson across the past decade. Curated by MCFF Artistic Director Oona Mosna, programs range from early found footage works to studied compositions of celestial bodies, capturing elements from both MCFF’s long history of presenting Everson’s films and his globally celebrated approach to moving images, rooted in the experience of the Midwest Black working class. All are welcome to join! 

✨KEYS TO THE CITY: An Evening with Kevin Jerome Everson✨
🗓️Satuday, November 15 
⏰6 PM
📍Newlab at Michigan Central
🎟️ Free 

Conversation between Kevin Jerome Everson and Danielle Eliska, moderated by Kelly Kivland, Director and Lead Curator, Michigan Central Art. Introduction by Rebecca Mazzei, Artistic Director, Trinosophes Projects. Partners: Michigan Central Art, Modern Ancient Brown & NOVA24 Photo + Film Festival 

✨THREE QUARTERS: The Cinema of Kevin Jerome Everson ✨
🗓️Tuesday, November 18
⏰ 6 PM
📍Detroit Public Library Main Branch 
🎟️ Free 

Introduction by Paige Wood. Partners: Detroit Public Library & Detroit Narrative Agency 

Everson visits the area to begin a new Knight Arts Foundation-supported MCFF commissioned film observing celestial space from the vantage point of metro Detroit! Special thanks to the Knight Foundation, Michigan Central, Detroit Public Library, Modern Ancient Brown Foundation, Detroit Narrative Agency, Warren Astronomical Society, Cranbrook Observatory, Picture Palace Pictures, and NOVA24 Photo + Film Festival. 

Lead image: Portrait © Léa Rener courtesy Cinema du réel, Paris. Film stills © Kevin Jerome Everson courtesy the artist; trilobite-arts DAC and Picture Palace Pictures. Films appear courtesy the artist and Picture Palace Pictures. 

@michigancentraldetroit @detroitpubliclibrary

Media City Film Festival and Trinosophes Projects are OVER THE MOON  to host celebrated filmmaker Kevin Jerome Everson in DETROIT and offer FREE public screenings of his films at Michigan Central and the Detroit Public Library’s gorgeous main branch (across from the DIA). 

This series features 15+ films made by Everson across the past decade. Curated by MCFF Artistic Director Oona Mosna, programs range from early found footage works to studied compositions of celestial bodies, capturing elements from both MCFF’s long history of presenting Everson’s films and his globally celebrated approach to moving images, rooted in the experience of the Midwest Black working class. All are welcome to join! 

✨KEYS TO THE CITY: An Evening with Kevin Jerome Everson✨
🗓️Satuday, November 15 
⏰6 PM
📍Newlab at Michigan Central
🎟️ Free 

Conversation between Kevin Jerome Everson and Danielle Eliska, moderated by Kelly Kivland, Director and Lead Curator, Michigan Central Art. Introduction by Rebecca Mazzei, Artistic Director, Trinosophes Projects. Partners: Michigan Central Art, Modern Ancient Brown & NOVA24 Photo + Film Festival 

✨THREE QUARTERS: The Cinema of Kevin Jerome Everson ✨
🗓️Tuesday, November 18
⏰ 6 PM
📍Detroit Public Library Main Branch 
🎟️ Free 

Introduction by Paige Wood. Partners: Detroit Public Library & Detroit Narrative Agency 

Everson visits the area to begin a new Knight Arts Foundation-supported MCFF commissioned film observing celestial space from the vantage point of metro Detroit! Special thanks to the Knight Foundation, Michigan Central, Detroit Public Library, Modern Ancient Brown Foundation, Detroit Narrative Agency, Warren Astronomical Society, Cranbrook Observatory, Picture Palace Pictures, and NOVA24 Photo + Film Festival. 

Lead image: Portrait © Léa Rener courtesy Cinema du réel, Paris. Film stills © Kevin Jerome Everson courtesy the artist; trilobite-arts DAC and Picture Palace Pictures. Films appear courtesy the artist and Picture Palace Pictures. 

@michigancentraldetroit @detroitpubliclibrary

Media City Film Festival and Trinosophes Projects are OVER THE MOON  to host celebrated filmmaker Kevin Jerome Everson in DETROIT and offer FREE public screenings of his films at Michigan Central and the Detroit Public Library’s gorgeous main branch (across from the DIA). 

This series features 15+ films made by Everson across the past decade. Curated by MCFF Artistic Director Oona Mosna, programs range from early found footage works to studied compositions of celestial bodies, capturing elements from both MCFF’s long history of presenting Everson’s films and his globally celebrated approach to moving images, rooted in the experience of the Midwest Black working class. All are welcome to join! 

✨KEYS TO THE CITY: An Evening with Kevin Jerome Everson✨
🗓️Satuday, November 15 
⏰6 PM
📍Newlab at Michigan Central
🎟️ Free 

Conversation between Kevin Jerome Everson and Danielle Eliska, moderated by Kelly Kivland, Director and Lead Curator, Michigan Central Art. Introduction by Rebecca Mazzei, Artistic Director, Trinosophes Projects. Partners: Michigan Central Art, Modern Ancient Brown & NOVA24 Photo + Film Festival 

✨THREE QUARTERS: The Cinema of Kevin Jerome Everson ✨
🗓️Tuesday, November 18
⏰ 6 PM
📍Detroit Public Library Main Branch 
🎟️ Free 

Introduction by Paige Wood. Partners: Detroit Public Library & Detroit Narrative Agency 

Everson visits the area to begin a new Knight Arts Foundation-supported MCFF commissioned film observing celestial space from the vantage point of metro Detroit! Special thanks to the Knight Foundation, Michigan Central, Detroit Public Library, Modern Ancient Brown Foundation, Detroit Narrative Agency, Warren Astronomical Society, Cranbrook Observatory, Picture Palace Pictures, and NOVA24 Photo + Film Festival. 

Lead image: Portrait © Léa Rener courtesy Cinema du réel, Paris. Film stills © Kevin Jerome Everson courtesy the artist; trilobite-arts DAC and Picture Palace Pictures. Films appear courtesy the artist and Picture Palace Pictures. 

@michigancentraldetroit @detroitpubliclibrary

Media City Film Festival and Trinosophes Projects are OVER THE MOON  to host celebrated filmmaker Kevin Jerome Everson in DETROIT and offer FREE public screenings of his films at Michigan Central and the Detroit Public Library’s gorgeous main branch (across from the DIA). 

This series features 15+ films made by Everson across the past decade. Curated by MCFF Artistic Director Oona Mosna, programs range from early found footage works to studied compositions of celestial bodies, capturing elements from both MCFF’s long history of presenting Everson’s films and his globally celebrated approach to moving images, rooted in the experience of the Midwest Black working class. All are welcome to join! 

✨KEYS TO THE CITY: An Evening with Kevin Jerome Everson✨
🗓️Satuday, November 15 
⏰6 PM
📍Newlab at Michigan Central
🎟️ Free 

Conversation between Kevin Jerome Everson and Danielle Eliska, moderated by Kelly Kivland, Director and Lead Curator, Michigan Central Art. Introduction by Rebecca Mazzei, Artistic Director, Trinosophes Projects. Partners: Michigan Central Art, Modern Ancient Brown & NOVA24 Photo + Film Festival 

✨THREE QUARTERS: The Cinema of Kevin Jerome Everson ✨
🗓️Tuesday, November 18
⏰ 6 PM
📍Detroit Public Library Main Branch 
🎟️ Free 

Introduction by Paige Wood. Partners: Detroit Public Library & Detroit Narrative Agency 

Everson visits the area to begin a new Knight Arts Foundation-supported MCFF commissioned film observing celestial space from the vantage point of metro Detroit! Special thanks to the Knight Foundation, Michigan Central, Detroit Public Library, Modern Ancient Brown Foundation, Detroit Narrative Agency, Warren Astronomical Society, Cranbrook Observatory, Picture Palace Pictures, and NOVA24 Photo + Film Festival. 

Lead image: Portrait © Léa Rener courtesy Cinema du réel, Paris. Film stills © Kevin Jerome Everson courtesy the artist; trilobite-arts DAC and Picture Palace Pictures. Films appear courtesy the artist and Picture Palace Pictures. 

@michigancentraldetroit @detroitpubliclibrary

Media City Film Festival and Trinosophes Projects are OVER THE MOON  to host celebrated filmmaker Kevin Jerome Everson in DETROIT and offer FREE public screenings of his films at Michigan Central and the Detroit Public Library’s gorgeous main branch (across from the DIA). 

This series features 15+ films made by Everson across the past decade. Curated by MCFF Artistic Director Oona Mosna, programs range from early found footage works to studied compositions of celestial bodies, capturing elements from both MCFF’s long history of presenting Everson’s films and his globally celebrated approach to moving images, rooted in the experience of the Midwest Black working class. All are welcome to join! 

✨KEYS TO THE CITY: An Evening with Kevin Jerome Everson✨
🗓️Satuday, November 15 
⏰6 PM
📍Newlab at Michigan Central
🎟️ Free 

Conversation between Kevin Jerome Everson and Danielle Eliska, moderated by Kelly Kivland, Director and Lead Curator, Michigan Central Art. Introduction by Rebecca Mazzei, Artistic Director, Trinosophes Projects. Partners: Michigan Central Art, Modern Ancient Brown & NOVA24 Photo + Film Festival 

✨THREE QUARTERS: The Cinema of Kevin Jerome Everson ✨
🗓️Tuesday, November 18
⏰ 6 PM
📍Detroit Public Library Main Branch 
🎟️ Free 

Introduction by Paige Wood. Partners: Detroit Public Library & Detroit Narrative Agency 

Everson visits the area to begin a new Knight Arts Foundation-supported MCFF commissioned film observing celestial space from the vantage point of metro Detroit! Special thanks to the Knight Foundation, Michigan Central, Detroit Public Library, Modern Ancient Brown Foundation, Detroit Narrative Agency, Warren Astronomical Society, Cranbrook Observatory, Picture Palace Pictures, and NOVA24 Photo + Film Festival. 

Lead image: Portrait © Léa Rener courtesy Cinema du réel, Paris. Film stills © Kevin Jerome Everson courtesy the artist; trilobite-arts DAC and Picture Palace Pictures. Films appear courtesy the artist and Picture Palace Pictures. 

@michigancentraldetroit @detroitpubliclibrary

Media City Film Festival and Trinosophes Projects are OVER THE MOON  to host celebrated filmmaker Kevin Jerome Everson in DETROIT and offer FREE public screenings of his films at Michigan Central and the Detroit Public Library’s gorgeous main branch (across from the DIA). 

This series features 15+ films made by Everson across the past decade. Curated by MCFF Artistic Director Oona Mosna, programs range from early found footage works to studied compositions of celestial bodies, capturing elements from both MCFF’s long history of presenting Everson’s films and his globally celebrated approach to moving images, rooted in the experience of the Midwest Black working class. All are welcome to join! 

✨KEYS TO THE CITY: An Evening with Kevin Jerome Everson✨
🗓️Satuday, November 15 
⏰6 PM
📍Newlab at Michigan Central
🎟️ Free 

Conversation between Kevin Jerome Everson and Danielle Eliska, moderated by Kelly Kivland, Director and Lead Curator, Michigan Central Art. Introduction by Rebecca Mazzei, Artistic Director, Trinosophes Projects. Partners: Michigan Central Art, Modern Ancient Brown & NOVA24 Photo + Film Festival 

✨THREE QUARTERS: The Cinema of Kevin Jerome Everson ✨
🗓️Tuesday, November 18
⏰ 6 PM
📍Detroit Public Library Main Branch 
🎟️ Free 

Introduction by Paige Wood. Partners: Detroit Public Library & Detroit Narrative Agency 

Everson visits the area to begin a new Knight Arts Foundation-supported MCFF commissioned film observing celestial space from the vantage point of metro Detroit! Special thanks to the Knight Foundation, Michigan Central, Detroit Public Library, Modern Ancient Brown Foundation, Detroit Narrative Agency, Warren Astronomical Society, Cranbrook Observatory, Picture Palace Pictures, and NOVA24 Photo + Film Festival. 

Lead image: Portrait © Léa Rener courtesy Cinema du réel, Paris. Film stills © Kevin Jerome Everson courtesy the artist; trilobite-arts DAC and Picture Palace Pictures. Films appear courtesy the artist and Picture Palace Pictures. 

@michigancentraldetroit @detroitpubliclibrary

Media City Film Festival and Trinosophes Projects are OVER THE MOON  to host celebrated filmmaker Kevin Jerome Everson in DETROIT and offer FREE public screenings of his films at Michigan Central and the Detroit Public Library’s gorgeous main branch (across from the DIA). 

This series features 15+ films made by Everson across the past decade. Curated by MCFF Artistic Director Oona Mosna, programs range from early found footage works to studied compositions of celestial bodies, capturing elements from both MCFF’s long history of presenting Everson’s films and his globally celebrated approach to moving images, rooted in the experience of the Midwest Black working class. All are welcome to join! 

✨KEYS TO THE CITY: An Evening with Kevin Jerome Everson✨
🗓️Satuday, November 15 
⏰6 PM
📍Newlab at Michigan Central
🎟️ Free 

Conversation between Kevin Jerome Everson and Danielle Eliska, moderated by Kelly Kivland, Director and Lead Curator, Michigan Central Art. Introduction by Rebecca Mazzei, Artistic Director, Trinosophes Projects. Partners: Michigan Central Art, Modern Ancient Brown & NOVA24 Photo + Film Festival 

✨THREE QUARTERS: The Cinema of Kevin Jerome Everson ✨
🗓️Tuesday, November 18
⏰ 6 PM
📍Detroit Public Library Main Branch 
🎟️ Free 

Introduction by Paige Wood. Partners: Detroit Public Library & Detroit Narrative Agency 

Everson visits the area to begin a new Knight Arts Foundation-supported MCFF commissioned film observing celestial space from the vantage point of metro Detroit! Special thanks to the Knight Foundation, Michigan Central, Detroit Public Library, Modern Ancient Brown Foundation, Detroit Narrative Agency, Warren Astronomical Society, Cranbrook Observatory, Picture Palace Pictures, and NOVA24 Photo + Film Festival. 

Lead image: Portrait © Léa Rener courtesy Cinema du réel, Paris. Film stills © Kevin Jerome Everson courtesy the artist; trilobite-arts DAC and Picture Palace Pictures. Films appear courtesy the artist and Picture Palace Pictures. 

@michigancentraldetroit @detroitpubliclibrary

Media City Film Festival and Trinosophes Projects are OVER THE MOON  to host celebrated filmmaker Kevin Jerome Everson in DETROIT and offer FREE public screenings of his films at Michigan Central and the Detroit Public Library’s gorgeous main branch (across from the DIA). 

This series features 15+ films made by Everson across the past decade. Curated by MCFF Artistic Director Oona Mosna, programs range from early found footage works to studied compositions of celestial bodies, capturing elements from both MCFF’s long history of presenting Everson’s films and his globally celebrated approach to moving images, rooted in the experience of the Midwest Black working class. All are welcome to join! 

✨KEYS TO THE CITY: An Evening with Kevin Jerome Everson✨
🗓️Satuday, November 15 
⏰6 PM
📍Newlab at Michigan Central
🎟️ Free 

Conversation between Kevin Jerome Everson and Danielle Eliska, moderated by Kelly Kivland, Director and Lead Curator, Michigan Central Art. Introduction by Rebecca Mazzei, Artistic Director, Trinosophes Projects. Partners: Michigan Central Art, Modern Ancient Brown & NOVA24 Photo + Film Festival 

✨THREE QUARTERS: The Cinema of Kevin Jerome Everson ✨
🗓️Tuesday, November 18
⏰ 6 PM
📍Detroit Public Library Main Branch 
🎟️ Free 

Introduction by Paige Wood. Partners: Detroit Public Library & Detroit Narrative Agency 

Everson visits the area to begin a new Knight Arts Foundation-supported MCFF commissioned film observing celestial space from the vantage point of metro Detroit! Special thanks to the Knight Foundation, Michigan Central, Detroit Public Library, Modern Ancient Brown Foundation, Detroit Narrative Agency, Warren Astronomical Society, Cranbrook Observatory, Picture Palace Pictures, and NOVA24 Photo + Film Festival. 

Lead image: Portrait © Léa Rener courtesy Cinema du réel, Paris. Film stills © Kevin Jerome Everson courtesy the artist; trilobite-arts DAC and Picture Palace Pictures. Films appear courtesy the artist and Picture Palace Pictures. 

@michigancentraldetroit @detroitpubliclibrary

Media City Film Festival and Trinosophes Projects are OVER THE MOON  to host celebrated filmmaker Kevin Jerome Everson in DETROIT and offer FREE public screenings of his films at Michigan Central and the Detroit Public Library’s gorgeous main branch (across from the DIA). 

This series features 15+ films made by Everson across the past decade. Curated by MCFF Artistic Director Oona Mosna, programs range from early found footage works to studied compositions of celestial bodies, capturing elements from both MCFF’s long history of presenting Everson’s films and his globally celebrated approach to moving images, rooted in the experience of the Midwest Black working class. All are welcome to join! 

✨KEYS TO THE CITY: An Evening with Kevin Jerome Everson✨
🗓️Satuday, November 15 
⏰6 PM
📍Newlab at Michigan Central
🎟️ Free 

Conversation between Kevin Jerome Everson and Danielle Eliska, moderated by Kelly Kivland, Director and Lead Curator, Michigan Central Art. Introduction by Rebecca Mazzei, Artistic Director, Trinosophes Projects. Partners: Michigan Central Art, Modern Ancient Brown & NOVA24 Photo + Film Festival 

✨THREE QUARTERS: The Cinema of Kevin Jerome Everson ✨
🗓️Tuesday, November 18
⏰ 6 PM
📍Detroit Public Library Main Branch 
🎟️ Free 

Introduction by Paige Wood. Partners: Detroit Public Library & Detroit Narrative Agency 

Everson visits the area to begin a new Knight Arts Foundation-supported MCFF commissioned film observing celestial space from the vantage point of metro Detroit! Special thanks to the Knight Foundation, Michigan Central, Detroit Public Library, Modern Ancient Brown Foundation, Detroit Narrative Agency, Warren Astronomical Society, Cranbrook Observatory, Picture Palace Pictures, and NOVA24 Photo + Film Festival. 

Lead image: Portrait © Léa Rener courtesy Cinema du réel, Paris. Film stills © Kevin Jerome Everson courtesy the artist; trilobite-arts DAC and Picture Palace Pictures. Films appear courtesy the artist and Picture Palace Pictures. 

@michigancentraldetroit @detroitpubliclibrary

Good morning. Ken Jacobs (1933–2025) was a remarkable human being and a brilliant and natural genius. We’ll be studying and hearing about him for as long as cinema exists. I remain convinced that Ken’s particular kind of fire might actually save this Earth, and I guess that’s up to us now. Reading Azazel’s message about his father’s final hours cemented a feeling of kinship, closeness, along with the need to keep working (even against all odds). He reported how Ken “express[ed] clearly his gratitude for the life he had, for his friends, for his family, and especially Flo. We were able to marvel together at many things, including that he became a ‘distinguished professor’ with only a GED, and that the place he took refuge from an abusive home as a teenager, The Museum of Modern Art, now held his work …” and that “before he went to the hospital, he completed a full work day, creating his beloved eternalisms …”  

I met Ken 21 years ago (nearly to the day) at the New York Film Festival—a little later in his influential 90+ years on this Earth. He’d already accomplished so much and touched so many. That initial meeting will remain one of those galvanizing experiences for me, and a reminder that a life in the arts should also be about fighting for and upholding the humanity we share. 

Rest in peace, eternal giant of cinema, Ken Jacobs ❤️‍🩹

“Another day without a future, but what the hell, another day”—Ken Jacobs, Star Spangled to Death (2004).

Photo credit: Friedl vom Gröller Kubelka (1975). Film excerpts: Star Spangled to Death (2004) and Little Stabs at Happiness (1960), Ken Jacobs.

Good morning. Ken Jacobs (1933–2025) was a remarkable human being and a brilliant and natural genius. We’ll be studying and hearing about him for as long as cinema exists. I remain convinced that Ken’s particular kind of fire might actually save this Earth, and I guess that’s up to us now. Reading Azazel’s message about his father’s final hours cemented a feeling of kinship, closeness, along with the need to keep working (even against all odds). He reported how Ken “express[ed] clearly his gratitude for the life he had, for his friends, for his family, and especially Flo. We were able to marvel together at many things, including that he became a ‘distinguished professor’ with only a GED, and that the place he took refuge from an abusive home as a teenager, The Museum of Modern Art, now held his work …” and that “before he went to the hospital, he completed a full work day, creating his beloved eternalisms …”  

I met Ken 21 years ago (nearly to the day) at the New York Film Festival—a little later in his influential 90+ years on this Earth. He’d already accomplished so much and touched so many. That initial meeting will remain one of those galvanizing experiences for me, and a reminder that a life in the arts should also be about fighting for and upholding the humanity we share. 

Rest in peace, eternal giant of cinema, Ken Jacobs ❤️‍🩹

“Another day without a future, but what the hell, another day”—Ken Jacobs, Star Spangled to Death (2004).

Photo credit: Friedl vom Gröller Kubelka (1975). Film excerpts: Star Spangled to Death (2004) and Little Stabs at Happiness (1960), Ken Jacobs.

Good morning. Ken Jacobs (1933–2025) was a remarkable human being and a brilliant and natural genius. We’ll be studying and hearing about him for as long as cinema exists. I remain convinced that Ken’s particular kind of fire might actually save this Earth, and I guess that’s up to us now. Reading Azazel’s message about his father’s final hours cemented a feeling of kinship, closeness, along with the need to keep working (even against all odds). He reported how Ken “express[ed] clearly his gratitude for the life he had, for his friends, for his family, and especially Flo. We were able to marvel together at many things, including that he became a ‘distinguished professor’ with only a GED, and that the place he took refuge from an abusive home as a teenager, The Museum of Modern Art, now held his work …” and that “before he went to the hospital, he completed a full work day, creating his beloved eternalisms …”  

I met Ken 21 years ago (nearly to the day) at the New York Film Festival—a little later in his influential 90+ years on this Earth. He’d already accomplished so much and touched so many. That initial meeting will remain one of those galvanizing experiences for me, and a reminder that a life in the arts should also be about fighting for and upholding the humanity we share. 

Rest in peace, eternal giant of cinema, Ken Jacobs ❤️‍🩹

“Another day without a future, but what the hell, another day”—Ken Jacobs, Star Spangled to Death (2004).

Photo credit: Friedl vom Gröller Kubelka (1975). Film excerpts: Star Spangled to Death (2004) and Little Stabs at Happiness (1960), Ken Jacobs.

❤️‍🔥NEXT WEEK IN DUBLIN, IRELAND! ❤️‍🔥MCFF is thrilled to present OUR TONGUES IN EXILE featuring films by Mati Diop, Rosalind Nashashibi, Ja’Tovia Gary, Narcisa Hirsch, Christopher Harris, Pablo Mazzolo, and Malena Szlam, as part of DISSOLUTIONS Festival, Sept. 26–28, 2025. @aemi_ie and @complexdublin 🌹

Curated by MCFF Artistic Director Oona Mosna, OUR TONGUES IN EXILE disrupts the linear temporality of narrative to speak to the urgency of displacement, the resilience of cultural memory, and the radical potential of solidarity through shared gesture, resistance, cinematic invention, and the personal and collective ritual. The program gathers films by artists and directors working across continents, generations, and cinematic languages who—along with hundreds of other international co-conspirators—have played formative roles in the development of MCFF’s storied history across the last 20 years. Each film in Our Tongues in Exile is at once rooted and unmoored, echoing Media City Film Festival’s method of decentralized co-operation and its long-standing commitment to cinematic experimentation and international solidarity.

DISSOLUTIONS Festival also opens with Kamal Aljafari’s award-winning feature, A Fidai Film (2024), spotlights the work of Palestinian director Basma Alsharif, and features many other wonderful offerings, including a masterclass and discussion with MCFF Assistant Director, Jeremy Rigsby. Friends in Ireland and all points beyond, please visit the festival and say hello.

Special thank you to the whole team in Dublin. MCFF is excited to spend time with comrades in Ireland. Sláinte mhaith! 🇮🇪Free Palestine! 🇵🇸

@matidiop
@rosishibi
@j_______g_______
@pablomazzolo
@malenaszlam
@reckless_3yes
@kamalaljafarifilm
@basmalsharif
@mediacityfilmfestival
@oonamosna
@filmoteca_narcisa_hirsch

❤️‍🔥NEXT WEEK IN DUBLIN, IRELAND! ❤️‍🔥MCFF is thrilled to present OUR TONGUES IN EXILE featuring films by Mati Diop, Rosalind Nashashibi, Ja’Tovia Gary, Narcisa Hirsch, Christopher Harris, Pablo Mazzolo, and Malena Szlam, as part of DISSOLUTIONS Festival, Sept. 26–28, 2025. @aemi_ie and @complexdublin 🌹

Curated by MCFF Artistic Director Oona Mosna, OUR TONGUES IN EXILE disrupts the linear temporality of narrative to speak to the urgency of displacement, the resilience of cultural memory, and the radical potential of solidarity through shared gesture, resistance, cinematic invention, and the personal and collective ritual. The program gathers films by artists and directors working across continents, generations, and cinematic languages who—along with hundreds of other international co-conspirators—have played formative roles in the development of MCFF’s storied history across the last 20 years. Each film in Our Tongues in Exile is at once rooted and unmoored, echoing Media City Film Festival’s method of decentralized co-operation and its long-standing commitment to cinematic experimentation and international solidarity.

DISSOLUTIONS Festival also opens with Kamal Aljafari’s award-winning feature, A Fidai Film (2024), spotlights the work of Palestinian director Basma Alsharif, and features many other wonderful offerings, including a masterclass and discussion with MCFF Assistant Director, Jeremy Rigsby. Friends in Ireland and all points beyond, please visit the festival and say hello.

Special thank you to the whole team in Dublin. MCFF is excited to spend time with comrades in Ireland. Sláinte mhaith! 🇮🇪Free Palestine! 🇵🇸

@matidiop
@rosishibi
@j_______g_______
@pablomazzolo
@malenaszlam
@reckless_3yes
@kamalaljafarifilm
@basmalsharif
@mediacityfilmfestival
@oonamosna
@filmoteca_narcisa_hirsch

❤️‍🔥NEXT WEEK IN DUBLIN, IRELAND! ❤️‍🔥MCFF is thrilled to present OUR TONGUES IN EXILE featuring films by Mati Diop, Rosalind Nashashibi, Ja’Tovia Gary, Narcisa Hirsch, Christopher Harris, Pablo Mazzolo, and Malena Szlam, as part of DISSOLUTIONS Festival, Sept. 26–28, 2025. @aemi_ie and @complexdublin 🌹

Curated by MCFF Artistic Director Oona Mosna, OUR TONGUES IN EXILE disrupts the linear temporality of narrative to speak to the urgency of displacement, the resilience of cultural memory, and the radical potential of solidarity through shared gesture, resistance, cinematic invention, and the personal and collective ritual. The program gathers films by artists and directors working across continents, generations, and cinematic languages who—along with hundreds of other international co-conspirators—have played formative roles in the development of MCFF’s storied history across the last 20 years. Each film in Our Tongues in Exile is at once rooted and unmoored, echoing Media City Film Festival’s method of decentralized co-operation and its long-standing commitment to cinematic experimentation and international solidarity.

DISSOLUTIONS Festival also opens with Kamal Aljafari’s award-winning feature, A Fidai Film (2024), spotlights the work of Palestinian director Basma Alsharif, and features many other wonderful offerings, including a masterclass and discussion with MCFF Assistant Director, Jeremy Rigsby. Friends in Ireland and all points beyond, please visit the festival and say hello.

Special thank you to the whole team in Dublin. MCFF is excited to spend time with comrades in Ireland. Sláinte mhaith! 🇮🇪Free Palestine! 🇵🇸

@matidiop
@rosishibi
@j_______g_______
@pablomazzolo
@malenaszlam
@reckless_3yes
@kamalaljafarifilm
@basmalsharif
@mediacityfilmfestival
@oonamosna
@filmoteca_narcisa_hirsch

❤️‍🔥NEXT WEEK IN DUBLIN, IRELAND! ❤️‍🔥MCFF is thrilled to present OUR TONGUES IN EXILE featuring films by Mati Diop, Rosalind Nashashibi, Ja’Tovia Gary, Narcisa Hirsch, Christopher Harris, Pablo Mazzolo, and Malena Szlam, as part of DISSOLUTIONS Festival, Sept. 26–28, 2025. @aemi_ie and @complexdublin 🌹

Curated by MCFF Artistic Director Oona Mosna, OUR TONGUES IN EXILE disrupts the linear temporality of narrative to speak to the urgency of displacement, the resilience of cultural memory, and the radical potential of solidarity through shared gesture, resistance, cinematic invention, and the personal and collective ritual. The program gathers films by artists and directors working across continents, generations, and cinematic languages who—along with hundreds of other international co-conspirators—have played formative roles in the development of MCFF’s storied history across the last 20 years. Each film in Our Tongues in Exile is at once rooted and unmoored, echoing Media City Film Festival’s method of decentralized co-operation and its long-standing commitment to cinematic experimentation and international solidarity.

DISSOLUTIONS Festival also opens with Kamal Aljafari’s award-winning feature, A Fidai Film (2024), spotlights the work of Palestinian director Basma Alsharif, and features many other wonderful offerings, including a masterclass and discussion with MCFF Assistant Director, Jeremy Rigsby. Friends in Ireland and all points beyond, please visit the festival and say hello.

Special thank you to the whole team in Dublin. MCFF is excited to spend time with comrades in Ireland. Sláinte mhaith! 🇮🇪Free Palestine! 🇵🇸

@matidiop
@rosishibi
@j_______g_______
@pablomazzolo
@malenaszlam
@reckless_3yes
@kamalaljafarifilm
@basmalsharif
@mediacityfilmfestival
@oonamosna
@filmoteca_narcisa_hirsch