Sasha Waters Freyer

Freyer Artist. Iconoclast. Man of his time. All Things are Photographable is a revealing documentary portrait of the life and work of acclaimed photographer Garry Winogrand – the epic storyteller in pictures of America across three turbulent decades.

An experimental, feminist collage of river naiads and backyard deities; nothing noticed is lonely. From inspiration to expiration, breathing is the only work to be enacted now.

A lyrical essay film that captures the spirit of excess and adventure embodied by The Great Gatsby (published in 1925) in fragments from home movies of a wealthy American family on a Grand Tour of Europe and North Africa.

A protist is an organism like the algae that inspired Anna Atkins to create the first book of cyanotypes in 1843. Here, they are transformed into a protest against the colonial violence that enabled their creation.

A counter-archive of the past in which public images and private lives, the Old World and the New, collide. The film reflects on how boundaries between genders and generations are shaped by vision and language, by technology and warfare.

Noted documentary filmmakers Iana Porter and Sasha Waters direct this understated and decidedly un-exploitative look at the world of sadomasochism both as therapy and as business. The film focuses on three New York dominatrices who willingly, lovingly, flog, smack, and abuse their clients: young perky Carrie, glitzy 30-something Sonja Blaze, and Teutonic matron Eva. All argue that they are providing society with an important, if quasi-sexual, service. Their clients ardently agree.

This movie is about loving things that are embarrassing and people who are inappropriate. It’s an essay film reflection on popular trash, football parties, older men, adolescent desire and the outrageous yet mundane humiliations of being a teenage girl in the 1980s. With sound design by Kevin T. Allen and performance cameos by filmmakers Roger Beebe and Jason Livingston.

A meditation on motherhood and mortality that takes its title from a procedure in the autopsying of a human corpse. Subtle juxtapositions evoke parallels between static monuments and living families to suggest what is lost to time and age. When you die, everything you know, including this, disappears.