James Feagin

James Feagin

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Most Known for...

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It Takes from Within 2017

An unnamed man and woman make preparations to attend a burial in a small, desolate town. After an intense argument separates the two, they find themselves isolated and in emotional turmoil. As the burial draws near, they begin to experience disturbing, surreal incidents involving manifestations of dread and despair. Abstract, dream-like sequences comprise the film, along with creative cinematography, abrasive sound design, and minimal use of spoken dialogue. A study of the human condition regarding loss, fear, and isolation, It Takes from Within is the debut feature film from writer/director Lee Eubanks.
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Motion Pictures for Wall Frames: Volume 1 2019

'Motion Pictures for Wall Frames: Vol 1' is the first in a series of experimental films by filmmaker Lee Eubanks. The series is focused on infusing environments of motion and time inherent in cinema with traditional visual art themes. 'Volume 1' involves six scenes which each showcase a different genre of photography or painting interpreted through cinematic movement and duration. Each scene is comprised of a single stationary shot reaching the 30-second maximum shot length of the hand-wound Krasnogorsk-3 camera. While 'Motion Pictures for Wall Frames' can be screened through traditional cinematic formats, the project is designed to be shown framed on a wall, either through projection or digital picture screen, much like a framed photograph or canvas. This concept originated from Eubanks' desire to see works of cinema showcased similarly to how pictures and paintings are commonly displayed across the world.
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Stillend 2022

Every day humanity makes a decision between continued existence and death by suicide. The existential choice of, "Should I have a cup of coffee or should I kill myself?" serves as the driving query for filmmaker Lee Eubanks to analyze throughout the avant garde film 'Stillend'. 'Stillend' reflects Eubanks' continued interest in exploring philosophical concepts and issues through film, consistently moving between both fiction and documentary footage shot in Nairobi, Kenya. It is additionally a comment on the filmmaker's ability or inability to communicate an argument truthfully using cinematic language.