May 7th 2016

“I then took another look into the rearview mirror, on my own. And I discovered, somewhat to my surprise, that when you look in the rearview mirror you do not see what has gone passed. You see what is coming. And the rearview mirror is the foreseeable future. It is not the past at all. The title, the phrase “rearview mirror” appears to distort the situation. Most people think of it instinctively from the sound of the phrase, “It must be the past.” In terms of media, of course, the thing that is occupying the foreground in terms of the rearview mirror is nostalgia. Nostalgia is the name of the game in every part of our world today. Nostalgia is not, well it’s a kind of rearview mirror if you like, but it’s also the shape of things to come.” – Marshall McLuhan

The Nightingale is pleased to present this program of short films that have their own particular ways with looking back, while simultaneously sharing in the projection of what lies ahead. Guided by voices via archival recordings, literary renditions, oral histories, and personal testimonies, these modern mythologies strive toward utopian fulfillments, but also present the threats of shifting ecologies that all too often accompany such palpable yet fragile states of being. Please join us for an evening of Chicago premieres as we travel to the small town of Hüllen-Hüllen, the isolated community of Ye on the island of Lanzarote, the remote volcanic Republic of Vanuatu, the Zelenikovsky Monastery in Bulgaria, and the backwaters of North Carolina in search of simply that which makes us come alive.

Program Details:

Wolkenschatten
Anja Dornieden & Juan David González Monroy, 2014, 16mm, color, 16:37

Neither God nor Santa María
Samuel M. Delgado & Helena Girón, 2015, 16mm to digital, color, 11:45

There is a Happy Land Further Awaay
Ben Rivers, 2015, S16mm to digital, color & b/w, 20:10

Baba Dana Talks to the Wolves
Ralitsa Doncheva, 2015, 16mm to digital, color, 10:38

Journey to the Sea
Josh Gibson, 2015, 35mm to digital, color & b/w, 14:23

Programmed by Lorenzo Gattorna

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