Film Highlight: Walker Art Center's Expanding the Frame

The Walker presents its third annual series dedicated to works that expand our ideas of what film and video can encompass. In these experimental works, filmmakers break the boundaries of traditional narrative and structure, in films culled from the early 1960s to last year.

In this week's offerings, artist Bruce McClure uses the medium of film as a purely visual art form. His "projector performances" incorporate 16mm projectors, film loops, and guitar pedals to create wildly sensory experiences of light and optics. (Thursday at 7:30 p.m. Free.)

Kent MacKenzie's The Exiles, 1961
courtesy of the Walker Art Center
Kent MacKenzie's The Exiles, 1961

Then, from Friday through Sunday, the Walker screens The Exiles. For the length of Kent MacKenzie's rediscovered 1961 feature, the past is not distant: It's vital, concrete, immediate—a record of vanished sites and vanquished dreams suspended in an eternally looped present. An account of 14 dusk-to-dawn hours in a community of relocated Native Americans—Los Angeles's once-prosperous Bunker Hill—the film unfolds without artificial urgency or hyped-up climaxes. It's acted with unpolished conviction by neighborhood residents that the British-born director met in the mid-'50s while researching a documentary. MacKenzie (who died in 1980 at age 50 after making just one other feature) had an ear for the poetry of ritualized interaction and an eye for the glint of hard light on city streets. As the three lead characters (played by Yvonne Williams, Homer Nish, and Tommy Reynolds) disperse like seeds to poker games, joyrides, and dissatisfied window shopping, the stunning black-and-white movie walks a nightworld so crackling with unfocused energy—so alive with threat, promise, and raw, honking rock 'n' roll, yet so limited in any sense of a future—that to enter it is to feel your blood surge. Started in 1958 and completed three years later—a period encompassing the nouvelle vague's initial shock waves a world away, and roughly coinciding with the similar efforts of John Cassavetes and Lionel Rogosin at home—this 50-year-old film stands as the freshest movie currently in theaters, in every sense that matters. (Friday and Saturday at 7:30 p.m.; Saturday and Sunday at 2 p.m.)

 
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