End of Summer (Short) Movie Madness
Moviehouse's Chris Henderson selects three of his favorite artsy shorts
Friday, August 27, 2010 - 06:00 AM
For almost four years, Chris Henderson, and the folks at Moviehouse, have been staging interactive video events around New York City—giving little-seen and emerging artists a platform to display their work. In addition to hosting regular viewing parties at the artsy Brooklyn center of 3rd Ward, Henderson also helps organize screenings at parks, handball courts and other public venues. In fact, this coming Monday at 8 p.m., he and Moviehouse will be at Sternberg Park in Williamsburg, screening a crowdsourced film put together by choreographer Zena Bibler. The movie pays tribute to movement and dance.
In anticipation of the project's debut next week, Henderson shares three of his favorite shorts with us, from three artists who he feels are working with video in innovative, nontraditional ways.
WOLFY AND BRIDE, by Leat Klingman
"I picked this because Leat's work is like nothing I've seen," says Henderson. "She's taking puppetry, but inserting her arms into the work. She's not trying to fool you into watching monsters. She really wants you to be aware that you're being manipulated." As for the storyline: "I love the absurdity of it," he says. "You have these two very odd characters dealing with the idea that love is evil, yet they clearly are in love with each other."
80 BILLION GUYS, by Kieran Michael O'Hare
"Kieran's work has such a comfortable feel to it," says Henderson of O'Hare's tale of love gone wrong. "It's like you're being told a very simple story." But the reality is far more complicated. "There's always a humorous aspect to it, but also a real hint of melancholy," he says. "He manages to get the anxieties of New York that we all have into this one little film."
GODFLESH SUPERSTAR, by Clay Franklin
Franklin overlays a key scene in Jesus Christ Superstar with music by the metal band Godflesh. Henderson says the result is that a scene which was originally about dance and celebration is transformed into something much more challenging. "There’s more tension," he explains. Interestingly, Franklin does not edit the film's pacing to fit the music. "The thing I love about it is that Clay really saw the pieces as separate from each other," Henderson says. "He knew the Godflesh song, and he knew the scene from Jesus Christ Superstar—and something in his brain knew that the rhythms of these matched."