Canyon Cinema 50 Press

Image: Chick Strand, Mujer de Milfuegos


“In an era when it seems like most every piece of recorded media is available online, Canyon Cinema at 50 reminds us that there are still reels of film accessible only in the dark confines of a communal screening room.” (Matt Stromberg, Hyperallergic, July 10, 2018)

“Spread across four programs, this all-16mm showcase — curated from a larger touring retrospective — brings together a half-century of noncommercial moving image work by a variety of artists both recognizable and less heralded.” (Jordan Cronk, Hollywood Reporter, June 28, 2018)

“Rather than dwell nostalgically on the usual avant-garde tropes and traditions—or focus solely on the work of the distributor’s undisputedly illustrious founders—the programs here give a sense of Canyon’s capacious, ‘non-discriminatory’ character.” (Leo Goldsmith, 4columns, April 27, 2018)

The San Francisco-based cooperative Canyon Cinema is one of the essential institutions of American experimental film. The names in this 50th-anniversary retrospective — which is divided into four programs of shorts — read like a roll call of filmmakers any moviegoer interested in the avant-garde should know.” (Ben Kenigsberg, New York Times, April 26, 2018)

Canyon 50 is a retrospective that is sprawling and alive, forward-looking and forward-thinking. It seems like every couple of years, someone declares the avant-garde (or film in general) ‘dead.’ And yes, it’s not as easy to work in celluloid as it used to be, although it was never exactly easy. But Canyon 50 is a perfect example of old and new, tradition and innovation, mutually informing one another.” (Michael Sicinski, March 22, 2018)

“My favorite blast from the past, however, is Love It/Leave It (1973), Tom Palazzolo’s 15-minute satire of knee-jerk patriotism and a choice example of good old Chicago lefty troublemaking…” (J.R. Jones, Chicago Reader, January 26, 2018)

“Canyon Cinema will be presenting a unique evening of avant-garde cinema organized around Robert Nelson and William T. Wiley’s 42-minute The Great Blondino (1967), an anarchic ’60s experiment in freeform filmmaking…” (Jesse Ficks, 48hills, April 11, 2017)

Canyon Cinema proves the avant-garde, underground and experimental can and will survive despite political climates that would rather see such artistic practices discredited, defunded and dissolved. Long may it survive as well.” (Sarah Hotchkiss, KQED, February 15, 2017)