Mark Street Films

Films 1984-2004

Films 1984-2004

Alone, Apart: the dream reveals the waking day

(2004) 16 mm, color, sound, 7 minutes

Selected Screenings:

Fulton Fish Market

(2003) 35 mm, color, sound, 12 minutes

“…blends scenes of the legendary waterfront market filmed in the early hours of the morning with hand-painted, emulsion-scratched abstractions turning the place into something beautiful and mysterious.” – Stephen Holden, The New York Times

Selected Screenings:

At Home and Asea

(2002) Video, color, sound, 70 minutes

“In At Home and Asea, Five Baltimore residents grapple –no self pity allowed–with their feelings of being stuck in lives that are less than meaningful. Street’s amalgam of documentary and fiction is poignant and, thanks to Guy Yarden’s score, anxiety-provoking. It’s also a subtly crafted portrait of an economically blighted city, pulled between North and South and central to neither.” – Amy Taubin, Village Voice

Experimental filmmaker Mark Street, who lives in Brooklyn and teaches at the University of Maryland, Baltimore County, returns to Filmforum with the L.A. premiere of At Home and Asea (2002), a collage of portraits charting the disillusionment shared by a group of Baltimore denizens. Street, whose previous work includes striking abstract pieces, as well as films in which he’s scratched and bleached the emulsion, here works with digital video; this allows him to capture intimate and casual moments with his subjects, who include three single mothers, a 23-year-old beer-drinking slacker and a man trying to understand his deceased father’s lpge by revisiting what the elderly man left behind. While it’s never entirely clear what’s scripted and what’s real, the video nevertheless gradually acquires a weighty torpor as the characters fight the inertia wrought by the exhausting, uphill struggle to create lives that live up to expectations. Street has always been adept at aligning invisible emotions with their physical counterparts, and here he perfectly captures his subjects’ anomie with images of Baltimore’s anonymous buildings and blighted neighborhoods. Their growing despair is perhaps best embodied, though, in shots showing boats bobbing slowly up and down on the gray water against the evanescent, lead-colored fog.” – Holly Willis, LA Weekly 

Selected Screenings:

Brooklyn Promenade

(2001) 16 mm/dvcam, color, sound, 3 minutes

Selected Screenings:

The Domestic Universe

(1999) Video, color, sound, 17 minutes

Selected Screenings:

  • Fell’s Point Creative Alliance, Baltimore MD 1999.
  • Blinding Light Cinema, Vancouver BC 1999.

“The Domestic Universe is a poetic meditation on intimacy and the swoon of new fatherhood… often assumes the visual perspective of a crawling, exploring child. But mostly the movie captures the shifting tectonics of gender roles.“ – Ann Hornaday, Baltimore Sun

Happy?

(2000) BetaSP, video, color, sound, 20 minutes

Street interviews in NYC attempt to show how people are struggling with issues of decay and transition in a famously unreflective age and country.

Selected Screenings:

  • Maryland Film Festival, 2000.
  • Athens Film Festival, Athens OH, 2000.
  • Artscape, Baltimore MD 2000.

Sliding off the Edge of the World

(2000) 35 mm (16 mm print available), video, color, silent, 7 minutes

Abstract footage reflects on the fluid nature of experience–fleeting images appear and vanish suggesting transition, change and decay.

Selected Screenings:

  • Fort Greene Park Summer Film Series, 2002.
  • Pioneer Theatre, NYC, 2001.
  • Galapagos Art Center, NYC, 2001.
  • D.U.M.B.O Film Festival, NYC, 2001.
  • Toronto Film Festival, 2001.
  • Sundance Film Festival, 2001.
  • Maryland Film Festival, 2000.
  • Milwaukee Outdoor Experimental Film Festival, 2000.
  • Chicago Underground Film Festival, 2000.
  • Telluride International Experimental Film Festival, 2000.
  • Festival International du Cinema Nouveau Montreal, 2000.

Sweep

(1998) 16 mm, color, sound, 7 minutes

Negative and positive hand-worked images shimmer on the screen as a father and daughter walk and talk their way through a spring afternoon.

Selected Screenings:

  • New Jersey Film Festival, 2000.
  • MicroCine Festival, Baltimore, MD 1999.
  • Athens Film Festival, Athens OH, 1999.
  • Semana de Cine Experimental, Madrid, Spain, 1999.
  • WYBE Philadelphia “Through the Lens” series, 1999.
  • Director’s Citation, Black Maria Film Festival, 1999.
  • European Media Arts Festival, Osnabruck, Germany, 1999.
  • Artscape Festival, Baltimore MD 1999.
  • THAW Festival, Iowa City, Iowa, 1999.
  • WNET Channel 13, “Reel NY” series, 1999.
  • South by Southwest Film Festival, Austin TX, 1999.
  • Rotterdam Film Festival, 1999.
  • Cinematheque, San Francisco, CA 1998.
  • Pacific Film Archive, Berkeley, CA 1998.
  • Chicago Filmmakers, 1998.
  • Film Arts Foundation Festival, San Francisco, CA 1998.
  • ATA’s Other Cinema, San Francisco, CA 1998.

Why Live Here?

(1996) 16 mm, color, sound, 50 minutes

Through the musings of three characters, the film considers notions of home and community in an age when people move all over for all reasons.

Selected Screenings:

  • Artscape Festival, Baltimore, MD 1998.
  • Film Arts Foundation Festival, 1996.
  • Virginia Film Festival, 1996
  • SF Cinematheque, 1997.
  • Chicago Filmmakers, 1997.
  • LA Film Forum, 1997.
  • Knitting Factory, New York, 1997.
  • University of South Florida, 1998.
  • Millennium Film Workshop, 1997.

Triptych

(1992) 16 mm, triple projection, color, silent, 13 minutes

Hand painted material–three screens screaming at each other in glorious cacophony.

  • Cinematheque, San Francisco, CA, 1992.
  • Artist’s Television Access, San Francisco, CA 1992.

Excursions

(1994) 16 mm, color and black & white, sound, 26 minutes

Super 8 footage of a trip to Mexico and Guatemala blown up to 16mm and informed by a variety of modes of address. “Real” journal entries mix with faux diaries, sound recorded by travelers on location, and excerpts from  a novel to explore the boundary between travel and imperialism.

Selected Screenings:

Blue Movie

(1995) 16 mm, color, sound, 5 minutes

A smattering of performances culled from old porno films and hand painted.

Selected Screenings:

  • “Light Movement”, Spektrum, Berlin, Germany, 2016
  • Whitney Museum of American Art, “The American Century”, 2000
  • “These Films” at the Red Room, Baltimore MD 2000
  • Prizewinner, Athens Film Festival, 1996.
  • Ann Arbor Film Festival, 1996.
  • Director’s Choice, Black Maria Film Festival, 1996.
  • Pandaemonium Festival, London
  • Semana de Cinema Experimental, Madrid, 1996.
  • Humboldt Film Festival, 1996.
  • New York Underground Film Festival, 1995.
  • Chicago Underground Film Festival, 1996.
  • Film Arts Foundation Festival, 1995.
  • 1 Reel Film Festival, Seattle WA, 1996.
  • European Media Arts Festival, Osnabruck, Germany, 1996.
  • Viper Film Festival, Zurich, Switzerland, 1996.
  • Albany Film Festival, 1996.
  • Impakt Film Festival, Uttretch, Holland, 1997
  • Crash Test Videos, Publick Playhouse, Cheverly MD, 1998.
  • Cinematheque Quebecquoise, Montreal, 2016.

Missing Something Somewhere

(1992) 16 mm, color, sound, 17 minutes

A film made by exposing print stock without a camera — fragments of meaning burst onto the screen and then disappear again just as quickly.

Selected Screenings:

Echo Anthem

(1991) 16 mm, color, sound, 8 minutes

Manipulated footage suggests a skewed, tattered version of North American nationalism. The film invites the viewer to be at once soothed and repulsed by the seething display of the flag.

Selected Screenings:

Lilting Toward Chaos

(1990) 16 mm, color, sound, 21 minutes

A circuitous, introspective diary film which invites the viewer to determine which musings are honest and useful and which are self-defeating.

  • Performance Space #122, New York, NY, 1991.
  • Millennium, New York, NY, 1991.
  • Film Arts Foundation Festival, 1991.
  • X-Film Program, Chicago, IL 1996.

Winterwheat

(1989) 16 mm, color, sound, 8 minutes

Made by bleaching, scratching and painting directly on the emulsion of an educational film about the farming cycle. The manipulations of the film’s surface created hypnotic visuals while also suggesting an apocalyptic narrative.

Selected Screenings:

Scratch

(1984) 16 mm, black & white, sound, 3 minutes

First film. Tearing away at the emulsion, searching for a soundtrack amidst everyday objects.