Prismatic Ground

*𝐅𝐞𝐬𝐭𝐢𝐯𝐚𝐥 𝐋𝐢𝐧𝐞𝐮𝐩 𝐀𝐧𝐧𝐨𝐮𝐧𝐜𝐞𝐝* Prismatic Ground, an annual festival centered on experimental documentary and avant-garde film and co-presented by Screen Slate, will hold its sixth edition Wednesday, April 29 through Sunday, May 3, 2026 in-person across five “waves” of screenings at @bamfilmbrooklyn , @dctvny , @lightindustry , @anthologyfilmarchives , and @metrograph , and online with wave ∞, a virtual selection free to watch at prismaticground.com. The festival’s opening night on April 29 will kick off at BAM with the North American premiere of @kaki.wong.kaki ’s 𝘐 𝘏𝘦𝘢𝘳𝘥 𝘛𝘩𝘢𝘵 𝘛𝘩𝘦𝘺 𝘈𝘳𝘦 𝘕𝘰𝘵 𝘎𝘰𝘪𝘯𝘨 𝘵𝘰 𝘚𝘦𝘦 𝘌𝘢𝘤𝘩 𝘖𝘵𝘩𝘦𝘳 𝘈𝘯𝘺𝘮𝘰𝘳𝘦; a screening of Nicolás Pereda’s 𝘊𝘰𝘣𝘳𝘦 (𝘊𝘰𝘱𝘱𝘦𝘳) co-presented by @cinematropical will follow at BAM on the same evening. The full lineup features new films by @desiring_line , @noleetah , @rajeesamarasinghe , Dianna Barrie and @richard.tuohy.98 , @memoriesofabiglife , @selledesong and Zack Khalil, @jangwook_lee_spacecell and more; three early works by Iraqi-Lebanese filmmaker Parine Jaddo (co-presented by @arteeast ); ‘Horror, or the Splendour of’, a second consecutive year’s night of poetry and film guest curated by @courtcolt and @swervekotecha ; a tribute by Blair Barnes to the Sony AVC Vidicon line of tube cameras, featuring 𝘊𝘰𝘮𝘱𝘶𝘵𝘦𝘳 𝘊𝘩𝘦𝘴𝘴 filmmaker Andrew Bujalski in person; a focus on Chinese avant-garde short films co-presented by @toneglow ; a tribute to June Givanni by @memoriesofabiglife ; and expanded performances and readings by @exovedate_ltd , @ceejaeyu , @le.chat.filou , Xiaolu Wang and @samy_benammar . This year’s recipient of the Ground Glass Award for Outstanding Contribution to the Field of Experimental Media is Japanese filmmaker Kohei Ando, who will be present May 2 at @anthologyfilmarchives for a screening of his work. Prismatic Ground 2026 will close out @metrograph on the evening of May 3 with the New York premiere of @isiahm11 ’s 𝘎𝘢𝘯𝘨𝘴𝘵𝘦𝘳𝘪𝘴𝘮. 🎟️🌐 Tickets & complete schedule at link in bio. Full program details at prismaticground.com.

🅒🅛🅞🅢🅘🅝🅖 🅝🅘🅖🅗🅣 As he mulls over the budget for his new film, director-gangster Clem sends his artist cronies after an old comrade rumoured to be a leaker. 𝗣𝗿𝗶𝘀𝗺𝗮𝘁𝗶𝗰 𝗚𝗿𝗼𝘂𝗻𝗱 𝗰𝗹𝗼𝘀𝗲𝘀 𝗼𝘂𝘁 𝗶𝘁𝘀 𝘀𝗶𝘅𝘁𝗵 𝗲𝗱𝗶𝘁𝗶𝗼𝗻 𝗦𝘂𝗻𝗱𝗮𝘆, 𝗠𝗮𝘆 𝟯 𝗮𝘁 𝗠𝗲𝘁𝗿𝗼𝗴𝗿𝗮𝗽𝗵 𝘄𝗶𝘁𝗵 𝙂𝙖𝙣𝙜𝙨𝙩𝙚𝙧𝙞𝙨𝙢, 𝘁𝗵𝗲 𝗻𝗲𝘄 𝗳𝗶𝗹𝗺 𝗯𝘆 𝗶𝗰𝗼𝗻𝗼𝗰𝗹𝗮𝘀𝘁𝗶𝗰 𝘂𝗻𝗱𝗲𝗿𝗴𝗿𝗼𝘂𝗻𝗱 𝗰𝗶𝗻𝗲𝗺𝗮 𝗮𝘂𝘁𝗲𝘂𝗿 𝗜𝘀𝗶𝗮𝗵 𝗠𝗲𝗱𝗶𝗻𝗮; 𝗮 𝗯𝗼𝗹𝗱𝗹𝘆 𝗱𝗶𝗮𝗹𝗲𝗰𝘁𝗶𝗰𝗮𝗹 𝗰𝗼𝗻𝘀𝗶𝗱𝗲𝗿𝗮𝘁𝗶𝗼𝗻 𝗼𝗳 𝗿𝗮𝗰𝗶𝘀𝗺, 𝗮𝗲𝘀𝘁𝗵𝗲𝘁𝗶𝗰𝘀 𝗮𝗻𝗱 𝗳𝗶𝗹𝗺𝗺𝗮𝗸𝗶𝗻𝗴 𝗶𝗻 𝘁𝗵𝗲 𝟮𝟭𝘀𝘁 𝗰𝗲𝗻𝘁𝘂𝗿𝘆. “The truth is even if we lose in the history of life, we will never lose in the history of thought.” 𝘗𝘳𝘪𝘴𝘮𝘢𝘵𝘪𝘤 𝘎𝘳𝘰𝘶𝘯𝘥 𝘪𝘴 𝘤𝘰-𝘱𝘳𝘦𝘴𝘦𝘯𝘵𝘦𝘥 𝘣𝘺 𝘮𝘦𝘥𝘪𝘢 𝘱𝘢𝘳𝘵𝘯𝘦𝘳 @screenslate 𝘢𝘯𝘥 𝘳𝘶𝘯𝘴 𝘈𝘱𝘳𝘪𝘭 29-𝘔𝘢𝘺 3, 2026 @bamfilmbrooklyn , @dctvny , @lightindustry , @anthologyfilmarchives 𝘢𝘯𝘥 @metrograph , 𝘸𝘪𝘵𝘩 𝘧𝘶𝘭𝘭 𝘱𝘳𝘰𝘨𝘳𝘢𝘮 𝘥𝘦𝘵𝘢𝘪𝘭𝘴 𝘵𝘰 𝘣𝘦 𝘢𝘯𝘯𝘰𝘶𝘯𝘤𝘦𝘥 𝘴𝘰𝘰𝘯. 🎟️Ticket link in bio ⌚️Limited amount of all-access wristbands available at prismaticground.com

*𝕆ℙ𝔼ℕ𝕀ℕ𝔾 ℕ𝕀𝔾ℍ𝕋 𝟚𝟘𝟚𝟞* 𝐘𝐞𝐚𝐫 𝐬𝐢𝐱 𝐨𝐟 𝐏𝐫𝐢𝐬𝐦𝐚𝐭𝐢𝐜 𝐆𝐫𝐨𝐮𝐧𝐝 𝐰𝐢𝐥𝐥 𝐜𝐨𝐦𝐦𝐞𝐧𝐜𝐞 𝐖𝐞𝐝𝐧𝐞𝐬𝐝𝐚𝐲, 𝐀𝐩𝐫𝐢𝐥 𝟐𝟗 @bamfilmbrooklyn 𝐰𝐢𝐭𝐡 𝐊𝐚 𝐊𝐢 𝐖𝐨𝐧𝐠’𝐬 𝐜𝐡𝐢𝐦𝐞𝐫𝐢𝐜𝐚𝐥 𝐟𝐞𝐚𝐭𝐮𝐫𝐞 𝐝𝐞𝐛𝐮𝐭 𝙄 𝙃𝙚𝙖𝙧𝙙 𝙏𝙝𝙖𝙩 𝙏𝙝𝙚𝙮 𝘼𝙧𝙚 𝙉𝙤𝙩 𝙂𝙤𝙞𝙣𝙜 𝙩𝙤 𝙎𝙚𝙚 𝙀𝙖𝙘𝙝 𝙊𝙩𝙝𝙚𝙧 𝘼𝙣𝙮𝙢𝙤𝙧𝙚. Tao is infatuated with Shin, but can only express this affection by sending roving gangs to beat him up in public. Meanwhile, Melih, a Turkish immigrant who owns a noodle shop, receives an enigmatic, possibly omniscient flower from Yu-Ping, whom he falls hopelessly for. Connected in inexplicable ways, Melih and Tao search within and without for the ability to forge meaningful memories and relationships, leading them to wonder, “Is there a way to leave a mark without causing pain?” 𝘗𝘳𝘪𝘴𝘮𝘢𝘵𝘪𝘤 𝘎𝘳𝘰𝘶𝘯𝘥 𝘪𝘴 𝘤𝘰-𝘱𝘳𝘦𝘴𝘦𝘯𝘵𝘦𝘥 𝘣𝘺 𝘮𝘦𝘥𝘪𝘢 𝘱𝘢𝘳𝘵𝘯𝘦𝘳 @screenslate 𝘢𝘯𝘥 𝘳𝘶𝘯𝘴 𝘈𝘱𝘳𝘪𝘭 29-𝘔𝘢𝘺 3, 2026 @bamfilmbrooklyn , @dctvny , @lightindustry , @anthologyfilmarchives 𝘢𝘯𝘥 @metrograph , 𝘸𝘪𝘵𝘩 𝘧𝘶𝘭𝘭 𝘱𝘳𝘰𝘨𝘳𝘢𝘮 𝘥𝘦𝘵𝘢𝘪𝘭𝘴 𝘵𝘰 𝘣𝘦 𝘢𝘯𝘯𝘰𝘶𝘯𝘤𝘦𝘥 𝘴𝘰𝘰𝘯. 🎟️ Ticket link in bio ⌚️ Limited amount of all-access wristbands available at prismaticground.com

🚨ONLINE SCREENING: EL PALACIO (2013) BY NICOLÁS PEREDA So honored to show, friend and filmmaker, Nicolás’ moving film online for limited time. El Palacio follows the daily lives of seventeen women living together in the same house for both economic and emotional support. Sharing domestic space, labor, and care, they train in various trades while preparing for work as nannies, domestic workers, and private nurses for the elderly.  Directed by Nicolás Pereda, one of the most singular voices in contemporary Mexican cinema. His films have screened at major international festivals, including Cannes Film Festival, Venice Film Festival, International Film Festival Rotterdam, New York Film Festival. Co-presented with Prismatic Ground, an annual festival in New York City centered on experimental documentary and avant-garde film. Pereda’s award-winning film Cobre, which received a Special Mention award at FIDMarseille, opened the 6th edition of the festival.

Year Six is over, but you can still purchase a limited edition print of the @robertbeattyart designed poster at @posteritati !

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Kohei Ando & Jonas Mekas

“The Land Lies Heavy” is a program of contemporary Chinese experimental films. These works consider land and space, navigating legal codes, transformed geographies, and personal manuscripts to consider how people and their identities have been shaped, lost, forgotten, or fabricated by surveillance, bureaucracy, and history. These films revel in the mystery and unknowability of these different places, considering both the materiality of film and the ostensible veracity of text to rupture our understanding of the areas we inhabit and call home. — @misterminsoo /@toneglow 🎟️🌐 Tickets and full program guide at prismaticground.com

Masayume (Nao Yoshigai, 2026, 110min) Nao YOSHIGAI, who lost her mental and physical balance at 34, starts training at a Zen temple. Through Zen, she reexamines “eating,” “sleeping,” and “breathing,” viewing her body and mind as a “bag of flesh.” Inspired by Michizo Noguchi, founder of Noguchi Taiso (movement method), she sees the body as a skin bag of fluid—free to expand and contract—where bones, organs, and the brain float. — @parallaxfilms_sales before everything has a name (An-li dīng, 2026, 17min) This film draws its imagery from a series of hand-processed 35mm film stills, featuring textures with specific qualities collected by the artist during her travels through various natural environments. These images are then meticulously layered through slow dissolves in post-production, seeking to activate the image’s immanent potential to generate the indeterminate sensations. “Before everything has a name” is not an imagination of the past or future, but a perceptual mode and state of existence that can be experienced in the present moment - something that may arrive at any time, yet cannot be summoned by will. In this unnamed place, language has not yet taken shape, concepts have not yet been constructed, and naming has not yet severed the interconnections among all things. — @ang1li2 🎟️🌐 Tickets and full program guide at prismaticground.com

Aanikoobijigan [ancestor / great-grandparent / great-grandchild] (Adam Khalil, Zack Khalil, 2026, 80min) Trapped in museum archives, Ancestors bend time and space to find their way home. History, spirituality, and the law collide as tribal repatriation specialists fight to return and rebury Indigenous human remains, offering a revealing look at the still-pervasive worldviews that justified collecting them in the first place. —The Film Collaborative WORLD ENTERPRISES (Anthony Banua-Simon, 2026, 14min) In 1940, on the dry westside of Kauaʻi, the Kekaha Sugar Company began a six-month mail-order film subscription with World Enterprises, an Oʻahu-based distributor—screening films for workers on their Sundays off from harvesting and processing sugarcane. The films, produced on the continent, ranged from John Wayne westerns and anti-union public service announcements to DuPont Chemical industrial shorts. Varied in style, the films shared a common theme: American power taming lands and peoples of the “frontier” through extraction, an encroachment justified by declared ideals of progress. These narratives attempted to codify American absorption as inevitable—meanwhile Asian immigrant laborers were actively exploring socialist futures that incorporated Kānaka Maoli sovereignty and imagined an independent, multiracial nation. WORLD ENTERPRISES is a collage of radical possibilities sourced entirely from the original 1940 film program. — @anthonybanuasimon 🎟️🌐 Tickets and full program guide at prismaticground.com

In the Manner of Smoke (Armand Yervant Tufenkian, 2025, 91min) Based on the filmmaker’s work as a fire lookout, reverie and observation forge relations among a landscape painter in London and a veteran fire lookout in California.With a concern for how media technology (from painting to surveillance webcams) impacts representations of forest fires and the experience of witnessing with one’s own eyes, the film forms an ecology of images from distinct and ultimately interlinked perspectives. — @armandfilm Anomalies in a Landscape (Félix Caraballo, 2025, 8min, 16mm) Anomalies in a Landscape is a film in four tableaux – four audivisual landscapes that unfold in all their strangeness. Spices, leaves and local seaweed reveal and imbue with their hues this film shot and developed on the very banks of the Magtogoek/St. Lawrence river. — @le.chat.filou 🎟️🌐 Tickets and full program guide at prismaticground.com

Every Contact Leaves a Trace (Lynne Sachs, 2025, 83min) For most of her life, filmmaker Lynne Sachs has collected business cards that strangers pulled from their wallets and placed in her hand. She sometimes remembers the precise moment they were offered to her, other times they are a mystery. Now in this digital era, being in the same space with others happens less and less. Sachs selects seven cards from hundreds and throws herself into finding out how and why certain people left an imprint on her consciousness. When she is able, she embraces clues and seeks out reunions. But when there is no trace, she gambles with imaginary histories and futures. A lifetime of tactile, face-to-face encounters reminds her of identities passed from hand to hand. — @kinorebelde My Friends in My Address Book (Kohei Ando, 1974, 3min, 16mm) A conceptual film in which Ando has assembled shots—all of equal duration—of his friends, in the order they are listed in his address book. — @lightcone_officiel 🎟️🌐 Tickets and full program guide at prismaticground.com