The Changing Same

Presented as a trilogy for the first time, Cauleen Smith’s The Volcano Manifesto brings together three recent films—My Caldera (2022), Mines to Caves (2023), and The Deep West Assembly (2024)—in a densely woven meditation on geological and cinematic time, on the wild abyss of volcanoes and the womb of mines and caves.” — MoMA Doc Fortnight

Smith interweaves the figure of the crow through the histories of Syracuse and Auburn, New York, both of which were key stations on the Underground Railroad and innovators in early cinematic and 3D optical technologies. Crow Requiem connects this history to recent and ongoing violence against people of color at the hands of the state.

H-E-L-L-O translates the famous musical sequence from Stephen Spielberg's Close Encounters of the Third Kind into a greeting for sites around New Orleans loaded with the histories of music and procession.

A young woman in a photography class begins taking pictures of black men out of fear they will soon be extinct.

A global portrait documenting the year's events, Cinetracts '20 features the work of an international lineup of 20 filmmakers. Capturing the zeitgeist in their own backyard, the artists' short films are the culmination of a year-long residency project.

Three women in Hollywood talk to the camera one summer (with a coda six months later). Sara is a casting director; her soliloquies are addressed to Samson (her blind infant son) and to Holly Hunter. She talks about her husband's refusal to touch their son and her discovery of his affair. Gina is a masseuse - blithe, solipsistic, scheming to steal the energy of Hollywood players. She frequently refers to her dead sister Wanda, kidnaped by their father. Phyllis, sexually abused by her father when a teen, addresses her son Eric. She's a producer, working on remaking Pasolini's "Teorema." As the project falls apart, so does she. All three hum or sing, "You made me love you."

Mythical forms embodied in puppetry and cinematic spectacle.

Night Sky is the story of two friends' journey through the desert into a synesthetic realm of the senses. After their car breaks down, Cleo and Jay discover a small portal that leads to another dimension where a dance marathon never ends, time collapses, and exhaustion is rampant. The girls travel to a sound chamber deep in the desert where they encounter a speaking dog that offers them a vision of their place in the universe.. Meanwhile, the exhausted marathon contestants continue shuffling their feet with no end in sight.

Short film commissioned by the Astrup Fearnley Museum in Oslo, Norway

Personal pilgrimages to three sites of extreme creativity, invention, and generosity: Alice Coltrane's Ashram, Watts Towers, and Watervliet Shaker Community

A found footage assemblage of epic proportions. Produced on residency at Chicago Film Archives, with music by The Eternals.

"Remote Viewing" is a story in which a man related that, as a boy, he had watched the whites in his town attempt to obliterate every trace of the black community’s history by digging a deep hole in which to bury a historical schoolhouse.

Entitled, a correspondence with historical still life painters. Super-8 transferred to digital video “Smith has developed a lyrical visual practice, weaving in and out of the independent film world and occasionally gracing the art world with breathtaking film installations that upend traditional forms of narrative filmmaking.” BOMB

Back in 2018 I invited an intergenerational group of women to help me make some moving-images in Noah Purifoy’s Desert Museum in Joshua Tree. The resulting film, 'Sojourner,' contemplates centuries of black feminist mysticism and cultural production. Something about Jeff’s 'Suffolk' reminded me of waking up at four in the morning so that we could catch that sun rise, then napping until 4 pm so that we could ready for sunset. Our film depended on being sensitive to and present for the orbit of our planet, the loop around the sun.

Three monologues adapted from the groundbreaking book, Black Women in White America, edited by Gerda Lerner.

The imagery of the film is of volcanic scenes in various life stages, from pouring magma to inert mountain, with colors unnaturally saturated – purple, blue, and orange. The scratchy, chaotic aesthetic is created through Smith’s proprietary process of placing TikTok video stills onto 35 mm film, then rendering it in 4K as an artifact of the original footage. A driving, heavy metal soundtrack provides an apt audio accompaniment to the visual onslaught of nature’s rage.