Frame Work Series 3 - American Center in Moscow

Frame work, a six-part screening series

Monday, March 22, 2021

Time: 6 pm -7:30 pm Moscow Time (Russia) / 11:00 am – 12:30 pm Eastern Time (USA)

Grey

Daria Lixaya

2019, 11 min.

(18+)

This film is a jump through the years – a Russian documentary fairy-tale with a Wolf about time, dreams, and plans of a small family and the piercing mysterious unpredictability of life.

Optimism

Deborah Stratman

2018, 15 min.

(18+)

Draw down the sun. Dig up the gold.

The urge to relieve a winter valley of permanent shadow and find fortune in alluvial gravel are part of a long history of desire and extraction in the far Canadian north. Cancan dancers, curl-ers, ore smelters, former city officials, and a curious cliff-side luminous disc congregate to form a town portrait. Shot in location in the Yukon Territory.

Register now if interested

The third part of the Framework, a six-part screening series featuring short films by Russian and American women filmmakers with a post-screening discussion facilitated by a moderator with the two filmmakers – March 22 6pm Zoom session. Translation will be provided.

About Filmmakers & Moderator:

Daria Lixaya is a Moscow-based independent documentary Photographer and Director. Born in 1994 in Priozersk, Russia, Daria worked as a senior engineer on a chemical plant, waiter in a wine bar, and photographer in a maternity hospital. In 2018, entered Moscow Film School. Took part in documentary workshops at “Zerkalo” Film Festival and Rudnik Documentary Film Festi-val. In 2019, received a grant to study at the DocDocDoc International School of Documentary Photography. Focus on a human fragility, smarting, and unanswered questions affecting connec-tions of past-present life.

Deborah Stratman is an artist and filmmaker making work that investigates issues of power, control and belief, exploring how places, ideas, and society are intertwined. Recent projects have addressed freedom, surveillance, sisterhood, public speech, sinkholes, levitation, propagation, orthoptera, raptors, comets, exodus and faith. She has exhibited internationally at venues includ-ing MoMA NY, Centre Pompidou, Hammer Museum, Witte de With, Tabakalera, Austrian Film Museum, Whitney Biennial and festivals including Sundance, Viennale, Berlinale, CPH/DOX, Oberhausen, True/False and Rotterdam. She lives in Chicago where she teaches at the University of Illinois.

Lilya Kaganovsky is the Richard and Margaret Romano Professor of Slavic, Comparative Liter-ature, and Media & Cinema Studies at the University of Illinois, Urbana-Champaign, and the As-sociate Editor for film and media at The Russian Review. She is the author of two books: The Voice of Technology: Soviet Cinema’s Transition to Sound, 1928-1935 (Indiana, 2018) and How the Soviet Man was Unmade (Pittsburgh, 2008); the co-editor of three volumes: Arctic Cinemas and the Documentary Ethos (with Anna Stenport and Scott MacKenzie, Indiana, 2019); Sound, Speech, Music in Soviet and Post-Soviet Cinema (with Masha Salazkina, Indiana, 2014),

and Mad Men, Mad World: Sex, Politics, Style and the 1960s (Lauren M. E. Goodlad, Lilya Ka-ganovsky, and Robert A. Rushing, Duke, 2013); and has published numerous articles on Soviet and post-Soviet cinema. She is a member of the editorial board of the journal Studies in Russian and Soviet Cinema and regularly contributes film reviews for the on-line journal KinoKultura.

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