Black Hole Collective Film Lab

After meeting via instagram, the team collaborated and celebrated our love of old silent monster movies. The music’s tone evokes fearful unknowns as a child escapes a shadowy figure. (shesaidred)

In "Searching for Beauty in Student Loan Debt or at Least the Envelopes in Which it Comes", Nicky Tavares reminds us of the process of making within a society based on profit and capitalised interest. Screen printing the insides of debt-letter envelopes onto 16mm film, Tavares invites us to ‘dream in colour of solvency that may never come.’

A film concerned with the chaotic sphere of disengagement invoked by the threatened subsumption of the sensitive and vibrational biorhythm into the cold and regulated logic of algorithmic capitalist automation. Explored through abyssal bridges of language. Towards the conspiratorial, intersubjective, and irregular oscillations of life as resistance.

Footage from a workshop in early 2019 led by Richard Tuohy and Dianna Barrie, founders of nanolab, a small gauge film lab based in Australia. (BHCFL)

Our first test recording optical sound onto 16mm film with an Auricon camera. (BHCFL)

A meditation on the supernatural in natural occurrences. How is magic made… and can it be measured? (Lauren Iverson)

The remaining neon signs of the Bay Area stand apart from modern lighted signs in their material characteristics and the history they connote. Light Isle suggests the notion of neon as a medium by emphasizing its simplicity, vibrancy and famous luminescence and questions that if neon's distinct characteristics allow its recognition as a distinct medium, then do other formats of visual and audio mediums prominently suggest their unique differences? (Matthew Hidy)

It's said that people tend to find their way back to the places they are from. Perhaps two people who have never met, yet started their journeys together, can find their way back to each other. (tamara suarez porras)

Two opposing strips of film interact with each other as do two opposing facets of society. (Zack Parrinella)

My first entry in a series of sketches examining ways of looking at and inhabiting the American post-millennial landscape. an unintentional evocation of pre-pandemic public spaces. (Alix Blevins)

Memory revisited, superstition transformed. Document as replaceable and rewritten form. Seeking a way out of the past.

Goodbye Pig / Goodbye Phil / Goodbye Sweet Things that Once Were. A reminiscence of an unknowable past. An homage to "'pigfill" aka "slug," a reinvented film, an invented manner of preservation. A found footage film constructed almost entirely of decayed/abused fill. The fill—once spliced into 16mm magnetic audio tracks of another film—had been stored in a wet basement. Water damage had caused the two to stick together. I was asked to replace the fill in order to transfer the audio to a digital medium for preservation purposes. I removed and spliced the bits of discarded picture together and projected it in an effort to gain some understanding of the original footage. Later I reprinted it, via the optical printer, fascinated by the bits of picture/past left unobscured by the residual blotches of mag, and in doing so I literally watched its continued demise; its further fall into chaos. (Anna Geyer)