LBO Film Festival
The inaugural 2022 LBO FILM FESTIVAL will run for two full days and will include film screenings, live performances, and access to local businesses and restaurants throughout the weekend. Curated by LBO Artistic Director, James Darrah, and Bradford Nordeen of Dirty Looks.
The lineup will include a variety of artists exploring the overlapping worlds of opera and film and feature the projects of unique filmmakers, dancers, composers, and opera singers, including the world premiere of the LBO-commissioned short film Entry. The festival will also include several works that have not yet had a theatrical release or public screening. Heralded by the Wall Street Journal as “experimenting and forging a new art form”, Artistic Director James Darrah’s unique focus on the intersection of opera and film has been praised by the LA Times as “blow[ing] up an old art form for the ‘Insecure’ generation” and will now have an annual home in the first LBO FILM FESTIVAL—a trailblazing two day series of curated screenings, premieres, and events celebrating the cinematic exploration of opera’s boundary-breaking collision with film with a wide array of collaborations from film, television and opera creatives.
More info on the curator, Dirty Looks, can be found on their website.
Saturday, July 16th
12:00 PM - 2:30 PM
Dorian Gray in the Mirror of the Yellow Press
Ulrike Ottinger, Dorian Gray im Spiegel der Boulevardpresse (Dorian Gray in the Mirror of the Yellow Press), German (English subtitles), 35mm on DCP, 150mins., 1984
2:50 PM - 5:10 PM
Werner Shroeter, Eika Katappa, 16mm on DCP, 144mins., 1969
5:30 PM - 6:45 PM
Oh My Homeland
Stephanie Barber, Oh My Homeland, 16mm on DV, 4mins., 2019
Teo Hernandez, Salome, super-8mm on DCP, 65mins., 1976
• This screening features a live performance by Dorian Wood.
7:15 PM - 8:15 PM
Ron Athey + Hermes Pittakos, Pasiphäe, The Witch Queen of Crete: A Glory Hole Origin Story, 10mins., digital video, 2021
• This screening features a live performance by Ron Athey, Xiu Xiu, and Anna Schubert.
8:45 PM - 10:15 PM
Son of Sam and Delilah
Charles Atlas, Son of Sam and Delilah, video, 27mins., 1991
The Pow'r of Life is Love (premiere)
Mariah Garnett, The Pow'r of Life is Love, 4k video, 13mins., 2021
Surprise Film with Live Performance
An original score performed live by Julianna Barwick, 40 min., 2022
• This screening features a live performance by Julianna Barwick.
10:30 PM - 11:50 PM
Space is the Place
John Coney, Space is the Place, 35mm on DCP, 85min., 1974
Sunday, July 17th
2:00 PM - 2:45 PM
• SongBook Excerpts
• ERWARTUNG // [Expectation] (LA premiere)
A live-action music video of Arnold Schoenberg’s song Erwartung (vier Lieder Op. 2:1)
• Entry (world premiere)
3:00 PM - 5:00 PM
Galant Indies: A film by Philippe Béziat. 2021. France. 108 minutes. French with English subtitles.
Production for Pasiphaë was organized by Dirty Looks Inc., shot on location at the Philosophical Research Society and was funded in part by The Andy Warhol Foundation for the Visual Arts and The Mike Kelley Foundation for the Arts.
Cast & Team
Bradford Nordeen is a writer, curator, and founder of the non-profit organization, Dirty Looks Inc. He has written for Frieze, Art in America, and Butt Magazine, and is a recipient of the 2018 Creative Capital / Warhol Foundation Arts Writers Grant. He was Platinum Programmer for Outfest Los Angeles (2013-2016), and guest curator for the inaugural season of public programs at The Broad Museum. He is currently pursuing a Ph.D. in Film and Digital Media at the University of California, Santa Cruz.
Ron Athey has been working at the vanguard of performance art for 25 years. Self-taught, his work developed out of post-punk/pre-goth scenes and begins with Premature Ejaculation (PE), an early 1980s collaboration with Rozz Williams. Their approach to performance art was informed by the club actions of Johanna Went and the formulation of Industrial Culture, the idea of psycho/neuro acoustics in sound performance. In the 1990s, Athey formed a company of performers and made Torture Trilogy, a series of works that addressed the AIDS pandemic directly through memorializing and philosophical reflection.
This work is characterized by the physical intensity of 1970s body-art canon, such as COUM Transmission, Carolee Schneeman and the Viennese Actionists, which toured internationally. The trilogy’s final chapter, Deliverance, was commissioned and premiered at the ICA London. In the 2000s, Athey developed genre-stretching theatrical works like Joyce and The Judas Cradle, and a series of major solo performances such as The Solar Anus, Sebastiane, Self-Obliteration Solo and Incorruptible Flesh, a series of solo performances that reflect Athey’s collaborations with the late Lawrence Steger.
Gifts of the Spirit: Prophecy, Automatism and Discernment is Athey’s vision for an automatic writing machine brought to life in collaboration with composer and opera director Sean Griffin. Athey has been writing Gifts of the Spirit since 1980 when he moved away from the Pentecostal and Spiritualist practices in which he was raised. These writings describe his experience of growing up as a “living saint” within an environment of abuse, vibrating with the energy of the otherworldly and doing so without faith.
Currently, Athey is presenting Acephalous Monster, a performance with projections, readings, lectures, appropriated text, and sound. Largely inspired by the secret society of Acéphale, Andre Masson’s design of a mascot, and drawing parallels between pre-Occupation 30s Paris with pre-Operation Spanner UK, the work is an attempt to make sense of a current reality where neo-fascism is mutating, creeping, and marching.
Julianna Barwick is a composer, vocalist and producer whose music has been featured in publications including The New York Times, NPR, Pitchfork (Best New Music), Loud & Quiet, and The Guardian. The new album, ‘Healing Is A Miracle’ features collaborations with Jónsi (Sigur Rós), Mary Lattimore, and Nosaj Thing. She has performed with artists including Yoko Ono, The Flaming Lips, and Phillip Glass.
Dorian Wood (b. 1975, pronouns: she/her/they/them) is a multi-disciplinary artist based in Los Angeles. Using subject matter informed by their own perspective as a genderfluid brown person, a child of Costa Rican and Nicaraguan immigrants, and an autodidact, Wood’s intent of “infecting” spaces and ideologies with their artistic practice is born from a desire to challenge traditions and systems that have contributed to the marginalization of people.
Wood has performed at institutions that include The Broad, Los Angeles, CA (2018), REDCAT, Los Angeles, CA (2019), Los Angeles Contemporary Exhibitions, CA (2010), Museo Nacional Del Prado, Madrid, Spain (2019), the City Hall of Madrid, Spain (2015), Teatro de la Ciudad Esperanza Iris, Mexico City, Mexico (2019), Museum Folkwang, Essen, Germany (2017), Mousonturm, Frankfurt, Germany (2014), Kampnagel, Hamburg, Germany (2014) and Moods, Zurich, Switzerland (2019), and at festivals that include Pacific Standard Time, Los Angeles, CA (2011), OUTsider Fest, Austin, TX (2019), Festival Cruilla, Barcelona, Spain (2017), WorldPride Madrid, Spain (2017), Festivals Kometa, Riga, Latvia (2016), Moers Festival, Germany (2017), Cully Jazz Festival, Switzerland (2015) and Saint Ghetto Festival, Bern, Switzerland (2017).
From 2019 to 2020, Wood completed several successful international tours with their chamber orchestra tribute to Chavela Vargas, XAVELA LUX AETERNA. In 2022, Wood debuted their tribute to the singer Lhasa De Sela, entitled LHASA, at the Festival Internacional de Arte Sacro in Madrid, in collaboration with singer Carmina Escobar and composer Adrián Cortés.
As a visual artist, Wood has created illustrations and video installations that have been exhibited in galleries around the world. They have also directed several short films, among them Low's "Disappearing" video (2021), “American Savagery” (2021), “FAF” (2021), “The World’s Gone Beautiful” (2020), “PAISA” (2019, co-directed with Graham Kolbeins), “O” (2014) and “La Cara Infinita” (2013).
Wood is a recipient of the Creative Capital Award (2020) and the Art Matters Foundation grant (2020), and a past artist-in-residence at Loghaven Artist Residency, Knoxville, Tennessee (2022), Building Bridges Art Exchange, Santa Monica, California (2020), Etopia, Centro de Arte y Tecnologia, under the FUGA program, Zaragoza, Spain (2019) and MASS Gallery, Austin, Texas (2017). They have been invited as a visiting artist to speak at institutions that include Northwestern University (2021), Occidental College (2019), Syracuse University (2020), UCLA (2021), CalArts School of Music (2021) and Institute of Contemporary Art, Los Angeles (2020).
Wood has released over a dozen recordings, among them the albums ARDOR (Independent, 2020), REACTOR (Independent, 2020), XALÁ (Atonal Industries, 2017), Down, The Dirty Roof (Atonal Industries, 2013), Rattle Rattle (Atonal Industries, 2013), Brutus (Independent, 2010) and BOLKA (Independent, 2007).
Described as "luminously expressive" with a "silvery voice" that "moves from innocence to devastation with an actor's ease," Anna is passionate about bringing new voices, stories, and musical ideas to life. She enjoys an eclectic career that takes her all over the world - premiering new works by living composers, performing old favorites by dead ones, and recording a wide variety of sounds for film and television.
A lover of new music and performance, Anna made her debut on the new music scene with the LA-based company The Industry, singing the ethereal soprano role of L in scenes from Anne LeBaron's LSD: The Opera. Since then, she has performed in a stunning array of new productions, including the role of the Controller in Opera Omaha's production of Jonathan Dove's Flight, Bernstein's Mass with the LA Phil, and creating the role of Bibi in the world premiere of Ellen Reid's Pulitzer Prize-winning opera p r i s m with LA Opera and Beth Morrison Projects. Her performance in p r i s m was described as "revelatory" (Catherine Womack), and subsequently led to a successful run at Theatro Municipal de São Paulo.
Anna also performs roles from standard operatic canon and concert repertoire. Highlights include Orff's Carmina Burana, and myriad Baroque and Classical works such as Handel's Messiah and Dixit Dominus; Mozart's Exsultate, Jubilate, Requiem, Vesperae solennes de confessore, and Mass in C Minor; and Bach's St. Matthew Passion and Mein Herze schwimmt im Blut. Recently, she premiered a staged and reimagined version of Orlando di Lasso's Lagrime di San Pietro with 20 other singers from the LA Master Chorale, which launched a worldwide tour.
Outside the world of classical vocals, Anna enjoys a stimulating and versatile career as a session singer. Her voice appears in various film and TV soundtracks, including The Lion King (2019), Mulan (2020), Star Wars: Episode IX - The Rise of Skywalker, Creed, Minions, as well as in Danny Elfman's latest album, Big Mess. Her solo soprano vocals can be heard dramatically soaring over orchestra and choir in the films Birds of Prey (2020) and Keanu (2016), and the Netflix series Midnight Mass.
Bio coming soon.
Dirty Looks Inc is a platform for queer film, video and performance founded in 2011 by Bradford Nordeen. Using film and time-based art to illuminate queer histories and liminal spaces across Los Angeles and New York City, Dirty Looks traces contemporary queer aesthetics through historical works, presenting quintessential GLBTQ film and video, alongside up-and-coming artists and filmmakers. Dirty Looks exhibits a lineage of queer tactics and visual styles for younger artists, casual viewers and seasoned avant-garde filmgoers, alike. A nebulous collective, we have worked closely with Karl McCool, Clara López Menéndez, in addition to over 50 guest curators, through our month-long, city-spanning festival Dirty Looks: On Location.
Over the course of eight years, Dirty Looks has staged screenings at The Museum of Modern Art, The Kitchen, The Hammer, Participant Inc, White Columns, ONE Archives, Artists Space and Judson Memorial Church. DL began regular Los Angeles programming in January 2015, instating a national reach for our programs. This is further bolstered by our Dirty Looks Volume series, which accumulates writing and ephemera that reflects our year-round programming in slim publications issued annually.
The event will take place at the iconic Art Theatre on the historic 4th Street corridor in Long Beach.
Health & Safety Measures
Please make sure to review LBO's up-to-date health and safety measures prior to your visit. Information regarding vaccine requirements, masks, and more can be found here.
Directions & Parking
Address: 2025 E 4th St, Long Beach, CA 90814
Parking: Paid parking will be available on 4th Street as well as in the neighborhoods surrounding the area. More information on further parking availability will be posted here soon.
Public Transportation: Take the Metro Blue Line to 5th Street Station. From the train platform, walk east on E 6th Street to the bus stop at Sixth & L.B. Blvd SE. Take the 91, 92, or 93 bus east to Seventh & Cherry SE. From there, head east on E 7th Street toward St Louis Avenue. Turn right onto St Louis Avenue, then right onto E 4th Street. The theatre will be on the right.
LBO subscribers attending the Film Festival will have an all-weekend pass with a reserved seat in the theatre. Single ticket holders will have a general admission ticket for the day of their attendance which will grant them access to any general admission seating sections throughout the event.
Theatre Food & Drink
The Art Theatre has a food and drinks stand in the lobby which will be open and available to all patrons throughout the festival. Anything purchased at the Art Theatre can be taken inside the theatre during performances. No outside food or drink is allowed into the theatre.
ADA-accessible seating is available in the venue. If you require ADA-accessible seating, please contact the box office by emailing [email protected] or by calling (562) 470-7464.
This activity is supported in part by the California Arts Council, a state agency. Learn more at cac.ca.gov
Supported in part by a grant from the Arts Council for Long Beach and the City of Long Beach.
Long Beach Opera events are supported, in part, by the Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission