SCREENING DATES & TIMES:
Friday, April 21st at 4:30pm
Saturday, April 22nd at 6:45pm
For the cinematic equivalent of an acid trip, look no further than Future Vision, an otherworldly, eerily prescient assemblage of films from today’s most visionary young directors. These optically astounding dark dreamscapes merge science fiction with southern-fried surrealism to create a future that is anything but utopian. Hallucinogenic, gripping, and timely, the films of Future Vision—both exhilarating and disquieting by turn—announce the arrival of a vital new generation of filmmakers working in the tradition of Kubrick and Cuarón. Clear-eyed, urgent dispatches from a frighteningly believable reality, Future Vision is essential viewing—a series of cautionary tales and premonitions that are entirely of the moment.
In the Brooklyn of director Terence Nance’s Afro-Futurist allegory They Charge for the Sun, natural light is a taxable commodity and over policing of black bodies is the norm. Subtle and smart, with detours through the realm of magic realism, They Charge for the Sun empowers with its vision of black resilience in the face of overwhelming oppression. A bloody ritualistic sacrifice (complete with floating boomboxes) introduces viewers to the queer cave dwellers of Alejandro Peña’s PEDAZOS, a technicolor fever dream that boasts blockbuster-sized visuals. Similarly ambitious in scope but shot in somber, static black-and-white, Indie Grits alumnus Georg Koszulinski’s inward-looking extraterrestrial epistle Letters from a Distant Future unsettles with harrowing imagery of a desolate Earth.
A deceptive post-apocalyptic romance serves as the anchor for Caitlyn Greene’s humid, claustrophobic first-person narrative short August. The end of the world is at the center of Warren Lewis Allen’s 16mm narrative short Radio Road, an observational study of four slackers tooling around the outskirts of Nashville, TN. Indie Grits alum Georg Koszulinski offers a bleary-eyed view of a Pacific Northwest highway in his second experimental short Frontier Journals 08: Antipodes Rising, while fellow alum William S. Davis populates his music video “LONGSHOREMAN” with deceased possums and other icons of southern living. Humans recall their past lives as animals in Carolina Charry Quintero’s Lynchian experimental short Blua, and Benjamin Roberds’s music video for “Time Stops” pits the music of StarBenders against the relentless velocity of his precise, mesmerizing tracking shots.
August, directed by Caitlyn Greene
They Charge For The Sun, directed by Terence Nance
PEDAZOS, directed by Alejandro Peña
Radio Road, directed by Warren Lewis Allen
Letter to a Distant Future, directed by Georg Koszulinski
Frontier Journals 08: Antipodes Rising, directed by Georg Koszulinski
LONGSHOREMAN, directed by William S. Davis
Blua, directed by Carolina Charry Quintero
Starbenders – “Time Stops”, directed by Benjamin Roberds