Thursday, April 12 at 2:30 PM
Friday, April 13 at 9:15 PM
Shorts Block: Body Chronicles
Anna Spence | Atlanta, GA | 5 min
A spectral series of computer-generated visions, this darkly ruminative experimental short resurrects 80s cult icon Max Headroom for a strange soliloquy, one that explores troubling questions about memory, technology, and reality itself.Buy Tickets 04/12 Buy Tickets 04/13
We asked our filmmakers some questions about them and their work. For further questions, join us at the designated post-screening Q+A!
1. What is your connection to the South?
I was born in Atlanta, and like it here, so I guess you could say I was born, raised and now work in the south.
2. Where did you get your inspiration for this work?
Max is the result of a serendipitous chain of events. This concept of The Uncanny has been an interest of mine for a while now, and as I was circuit-bending some old video mixers, I would test them out on old Max Headroom episodes. Somewhere through that process, and thinking about the uncanny, something in my mind clicked.
3. How did you start making films?
I made movies for my lit classes in highschool- they were all sequels to great works of literature. In 11th grade, I made a sequel to The Scarlet Letter called The Blood Red Letter of Doom, in which the protagonist kills characters from the novel that have come back from the dead. A lot of the stuff I made then was heavily influenced by The Evil Dead trilogy, and it shows.
4. Did anything interesting or funny happen on set during the shooting?
Not really, the making of Max was a long, tedious process. In the process of making Max, I learned a lot about circuit bending and rotoscoping. Very different skills, but ones that make the piece what it is.
5. What do you look forward to the most during Indie Grits?
I get a lot out of watching other people’s work, it’s always inspirational and educational for me to see what other people are doing.
6. Why should someone see your film?
People should see Max because it will challenge the way they think about moving images. Max addresses cinema’s relationship to them as viewers. And it does so in a way that I think is relatable, compelling, and heartbreaking.
“In Dog Beers I’ve Only Had Two”: A Lesson for Beginners
A Name That I Admire
All Fried: Carolina Fish Camps
All The Beautiful Girls
All The In-Between
An Accidental Drowning
below the neck, above the knees
Blanko – “Hallelujah”
Bless These Sounds Under the City – “THE SLEEPING 8”
The BLM Bridge Protest: One Year Later
Can’t Kids – “Coperroni”
The Checkout Line
CPS Closings & Delays
Dishing Out Community
dragons & seraphim
F E B R A – “Fasterrrr”
Flagged: An American Love Story
Fruit Don’t Fall Far
Gays for Trump?
Girls Rock Columbia
Hardcore Wrestling Alliance
Kaye the Beast – “HEARD”
Kevin Devine – “Couldn’t Be Happier”
Kim Bush’s Abduction
Levitate, Levitate, Levitate
me and my army
My Body Is Not My Own
My Name Is Marc, And You Can Count On It
Not For Medical Use
Nothing A Little Soap Can’t Fix
The Passages of Pride
Prayer for Roy Moore
Recuerdos de Sangre / Blood Memories
Sequoyah – “Blue Jays”
Serpents and Doves
Siler City: Bienvenido a Trabajar
Skater Boy and Friendly Cop
Socks on Fire: Uncle John and the Copper Headed Water Rattlers
THESE COLORS DON’T RUN
This My Favorite Mural
Three Legged Dog
The Traveler Takamure
You Can’t Play With Us