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Prismatic Ground

@prismaticground

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NYC experimental film festival. Media partner @screenslate.

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by @prismaticground

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11 days ago

"This clip is the fourth in a series excerpted from ""Concealed and Denied,"" a short archival documentary without any archival footage. Instead, I restate what the subjects say in media appearances in my own voice, and describe what you're not seeing.

In this clip, I describe the Intercept's investigation of the conservative funding sources that fueled Christopher Rufo's nonprofit, the Documentary Foundation, which paid him a salary to finish his last feature for PBS, 2019's ""America Lost."" I contrast that partisan support with Rufo's self-mythologizing account of his supposed cancellation on the Joe Rogan Experience.

Resolving the dissonant timelines in Rufo's self-described political shifts requires following the money. To read more, @LUXmovingimage has published a new essay (link in bio) as part of my ""Narrative Warfare"" exhibition, which runs until May 31." by @prismaticground

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5 months ago

"This clip is the fourth in a series excerpted from ""Concealed and Denied,"" a short archival documentary without any archival footage. Instead, I restate what the subjects say in media appearances in my own voice, and describe what you're not seeing.

In this clip, I describe the Intercept's investigation of the conservative funding sources that fueled Christopher Rufo's nonprofit, the Documentary Foundation, which paid him a salary to finish his last feature for PBS, 2019's ""America Lost."" I contrast that partisan support with Rufo's self-mythologizing account of his supposed cancellation on the Joe Rogan Experience.

Resolving the dissonant timelines in Rufo's self-described political shifts requires following the money. To read more, @LUXmovingimage has published a new essay (link in bio) as part of my ""Narrative Warfare"" exhibition, which runs until May 31." by @prismaticground

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5 months ago

🚨ONLINE SCREENING: EL PALACIO (2013) BY NICOLÁS PEREDA

So honored to show, friend and filmmaker, Nicolás’ moving film online for limited time.

El Palacio follows the daily lives of seventeen women living together in the same house for both economic and emotional support. Sharing domestic space, labor, and care, they train in various trades while preparing for work as nannies, domestic workers, and private nurses for the elderly.

Directed by Nicolás Pereda, one of the most singular voices in contemporary Mexican cinema. His films have screened at major international festivals, including Cannes Film Festival, Venice Film Festival, International Film Festival Rotterdam, New York Film Festival.

Co-presented with Prismatic Ground, an annual festival in New York City centered on experimental documentary and avant-garde film. Pereda’s award-winning film Cobre, which received a Special Mention award at FIDMarseille, opened the 6th edition of the festival. by @prismaticground

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5 months ago

Year Six is over, but you can still purchase a limited edition print of the @robertbeattyart designed poster at @posteritati! by @prismaticground

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5 months ago

🎬 taken in Metrograph by @prismaticground

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5 months ago

Kohei Ando & Jonas Mekas by @prismaticground

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5 months ago

“The Land Lies Heavy” is a program of contemporary Chinese experimental films. These works consider land and space, navigating legal codes, transformed geographies, and personal manuscripts to consider how people and their identities have been shaped, lost, forgotten, or fabricated by surveillance, bureaucracy, and history. These films revel in the mystery and unknowability of these different places, considering both the materiality of film and the ostensible veracity of text to rupture our understanding of the areas we inhabit and call home. — @misterminsoo/@toneglow

🎟️🌐 Tickets and full program guide at prismaticground.com taken in Anthology Film Archives by @prismaticground

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6 months ago

Masayume
(Nao Yoshigai, 2026, 110min)
Nao YOSHIGAI, who lost her mental and physical balance at 34, starts training at a Zen temple. Through Zen, she reexamines “eating,” “sleeping,” and “breathing,” viewing her body and mind as a “bag of flesh.” Inspired by Michizo Noguchi, founder of Noguchi Taiso (movement method), she sees the body as a skin bag of fluid—free to expand and contract—where bones, organs, and the brain float.
— @parallaxfilms_sales

before everything has a name
(An-li dīng, 2026, 17min)
This film draws its imagery from a series of hand-processed 35mm film stills, featuring textures with specific qualities collected by the artist during her travels through various natural environments. These images are then meticulously layered through slow dissolves in post-production, seeking to activate the image’s immanent potential to generate the indeterminate sensations. “Before everything has a name” is not an imagination of the past or future, but a perceptual mode and state of existence that can be experienced in the present moment - something that may arrive at any time, yet cannot be summoned by will. In this unnamed place, language has not yet taken shape, concepts have not yet been constructed, and naming has not yet severed the interconnections among all things. — @ang1li2

🎟️🌐 Tickets and full program guide at prismaticground.com taken in Anthology Film Archives by @prismaticground

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6 months ago

Aanikoobijigan [ancestor / great-grandparent / great-grandchild]
(Adam Khalil, Zack Khalil, 2026, 80min)
Trapped in museum archives, Ancestors bend time and space to find their way home. History, spirituality, and the law collide as tribal repatriation specialists fight to return and rebury Indigenous human remains, offering a revealing look at the still-pervasive worldviews that justified collecting them in the first place.
—The Film Collaborative

WORLD ENTERPRISES
(Anthony Banua-Simon, 2026, 14min)
In 1940, on the dry westside of Kauaʻi, the Kekaha Sugar Company began a six-month mail-order film subscription with World Enterprises, an Oʻahu-based distributor—screening films for workers on their Sundays off from harvesting and processing sugarcane. The films, produced on the continent, ranged from John Wayne westerns and anti-union public service announcements to DuPont Chemical industrial shorts. Varied in style, the films shared a common theme: American power taming lands and peoples of the “frontier” through extraction, an encroachment justified by declared ideals of progress. These narratives attempted to codify American absorption as inevitable—meanwhile Asian immigrant laborers were actively exploring socialist futures that incorporated Kānaka Maoli sovereignty and imagined an independent, multiracial nation. WORLD ENTERPRISES is a collage of radical possibilities sourced entirely from the original 1940 film program. — @anthonybanuasimon

🎟️🌐 Tickets and full program guide at prismaticground.com taken in Anthology Film Archives by @prismaticground

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6 months ago

In the Manner of Smoke
(Armand Yervant Tufenkian, 2025, 91min)
Based on the filmmaker’s work as a fire lookout, reverie and observation forge relations among a landscape painter in London and a veteran fire lookout in California.With a concern for how media technology (from painting to surveillance webcams) impacts representations of forest fires and the experience of witnessing with one’s own eyes, the film forms an ecology of images from distinct and ultimately interlinked perspectives. — @armandfilm

Anomalies in a Landscape
(Félix Caraballo, 2025, 8min, 16mm)
Anomalies in a Landscape is a film in four tableaux – four audivisual landscapes that unfold in all their strangeness. Spices, leaves and local seaweed reveal and imbue with their hues this film shot and developed on the very banks of the Magtogoek/St. Lawrence river. — @le.chat.filou

🎟️🌐 Tickets and full program guide at prismaticground.com by @prismaticground

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6 months ago

Every Contact Leaves a Trace
(Lynne Sachs, 2025, 83min)
For most of her life, filmmaker Lynne Sachs has collected business cards that strangers pulled from their wallets and placed in her hand. She sometimes remembers the precise moment they were offered to her, other times they are a mystery. Now in this digital era, being in the same space with others happens less and less. Sachs selects seven cards from hundreds and throws herself into finding out how and why certain people left an imprint on her consciousness. When she is able, she embraces clues and seeks out reunions. But when there is no trace, she gambles with imaginary histories and futures. A lifetime of tactile, face-to-face encounters reminds her of identities passed from hand to hand. — @kinorebelde

My Friends in My Address Book
(Kohei Ando, 1974, 3min, 16mm)
A conceptual film in which Ando has assembled shots—all of equal duration—of his friends, in the order they are listed in his address book. — @lightcone_officiel

🎟️🌐 Tickets and full program guide at prismaticground.com taken in Anthology Film Archives by @prismaticground

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6 months ago