Christina Kennedy

Christina Kennedy

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Sweet Country 2018 (6.638)

In 1929, an Australian Aboriginal stockman kills a white station owner in self-defense and goes on the lam, pursued by a posse.
Christina Kennedy

Christina Kennedy

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Almost as Good as Christmas 1986

The swirling lights, the shimmering colors intertwine in a symphony of electric movements. Three little tricks and the evocation of the special atmosphere of funfairs at night summon memories and emotions from childhood. The mix of swirling colors and juxtaposition of sounds evoke Christmas and all the excitement that comes with it.
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Tungabhadra 1987

In Tungabhadra, the images are limited to one place. The use of the same way of filming as well as the repeated images structure the film. They accentuate the atmosphere and character of the landscape. Water is an important recurring theme and the Tungabhadra River is as essential to the film as it is vital to the ancient capital of Vijayanagara. The film constantly returns to the river and the reflection of the enormous rocks in it. Here, the tranquility and disappearance of time are reinforced by the slow panoramic views in which reality and its reflection, the past and the present, merge into abstract patterns of light and shadow.
Christina Kennedy

Christina Kennedy

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Audience 1983 (4.3)

Barbara Hammer’s Audience is a fascinating deep cut from the director’s prodigious filmography. Relatively raw in its design, this 16mm diary of audience reactions at retrospectives of Hammer’s work in San Francisco, London, Toronto, and Montreal in the early 1980s bears none of the distinctive visual flourishes and essayistic form one usually finds in her filmmaking. Today, Audience serves as an invaluable historical archive, providing quick but complex portraits of lesbian scenes in different cities and countries: the San Francisco women are bold and raucous, treating Hammer like a celebrity; the London crowd more reserved and tentative; the Canadians politely critical after initial hesitation. It also functions as a testament to the power of Hammer herself as a figure of lesbian culture, showing how fully she engages audiences to incite new forms of discourse about representation.