Swallow
An evocative collage about a young girl caught in the throes of anorexia and depression, deviance and disintegration.
Elisabeth Subrin
Director
Also Directed by Elisabeth Subrin
An exhausted, workaholic actress, Anna Baskin, 44, abruptly extricates herself from a successful but mind-numbing TV role, returning to her past life in New York to reinvent herself.
A film by Elisabeth Subrin.
Elisabeth’s short for 30/30 Vision is a tribute to the French actress Maria Schneider.
Sweet Ruin is an experimental adaptation of Michelangelo Antonioni’s unrealized script, Technically Sweet, written in the late '60s, but never produced. Set in the Amazon and Sardinia, it was to star Jack Nicholson as T., a disillusioned journalist obsessed with guns, and Maria Schneider as "The Girl." In two screens paralleling the dual plots of his script, Sweet Ruin imagines the ruins of Antonioni's work, as if it somehow actually filmed, but then lost and forgotten.
Elisabeth Subrin’s masterful film is a shot-by-shot reenactment of an unreleased 1967 documentary portrait of SAIC student Shulamith Firestone, who, a few years later, would become a central figure in the rise of radical feminism. Through its meticulous staging, the film expresses in Subrin’s words, “the residues of the past,” and the resonance of issues around gender and class today. (Gene Siskel Film Center)
Over 30 filmmakers and friends of Strand Releasing have come together to honor the company’s indelible contribution to independent cinema over the past thirty years. The participating filmmakers have each created a short film for the project, all shot on iPhones. Produced by Strand Releasing and Connor Jessup.
In 1983, French actress Maria Schneider gives an interview for the TV show Cinéma Cinémas. The conversation takes an unexpected turn when she challenges film industry practices and is asked to talk about the controversial film Last Tango in Paris (1972).
The Fancy is a speculative, experimental work that explores the life of Francesca Woodman (1958-1981), evoked by the published catalogues of and about her photographs. Structural in form, the video radically reorganizes information from the catalogues in order to pose questions about biographical form, history and fantasy, female subjectivity, and issues of authorship and intellectual property.
