Combining extensive found footage, some of it homoerotic, with material he shoots himself, Luther Price makes Super-8 films that have a raw and unfinished look and avoid obvious conclusions. In Jellyfish Sandwich he combines footage of a football game with fire-fighting scenes, right-side-up images with upside-down ones, black-and-white with color–creating a film that’s aggressive and enigmatic. The longest film on this program, Me Gut No Dog Dog, is more provocative: its footage includes a businessman sitting at a desk, a military training film, what looks like an amateurish student-film melodrama, a male group jerk off, and a motorized machine pumping a dildo in and out of a man’s ass. While Price’s intercutting often suggests a homoerotic subtext to the military and business worlds–as well as the dehumanized aspects of our culture–Me Gut No Dog Dog also seems to be about the absurdist act of making a found-footage film. The sound is often slowed down, producing a low, almost unintelligible growl that adds to the film’s machinelike feel. Perhaps the strongest, and strangest, work on the program is Sodom, whose rapidly intercut footage of anal sex and self-sucking often produces banging, sexualized rhythms. The visible splice bars frequently appear within as well as between shots, calling attention to the smallness of the Super-8 strip and seemingly imprisoning the erotic elements. The major locus of eroticism for Price seems to be the film material itself and the act of working on it. Also on the program are Red Rooster, Mr. Wonderful, Erruption Errection, These and Those, Porcelyn Ribbon, and Slam. Price will be present at the screening. Kino-Eye Cinema at Chicago Filmmakers, 1543 W. Division, Friday, February 14, 8:00, 773-384-5533. –Fred Camper
Art accompanying story in printed newspaper (not available in this archive): Sodom film still.