Copyright 2013
Winnipeg Underground Film Festival
June 1 to 4th, 2017

At the Rachel Browne Theatre (2nd Floor, 211 Bannatyne Ave)

Tremendous obsessions breed tremendous films, and this program of work by L.A. based artist Alee Peoples is undeniable proof of this mantra. Alee’s obsessive work – whether it’s sewing, screen-printing, sculpture or cinema – employs a playful, sun-bleached, and often erotic sensibility, subtly mixed with pointed observations of her Los Angeles habitat and the greater process of filmmaking. Her fixations are vast: seductive inanimate advertisements, discreet signs and billboards, taco trucks and taco lips, tree roots and men. Reminiscent conversations between friends become a mirror for the structural elements of cinema. Alee Peoples is there like a shutterless camera… Eyes wide open all the time. With Alee Peoples in attendance.

Spotlight on a Brick Wall dirs. Alee Peoples + Mike Stoltz
2016 | US | 8 | 16mm | Manitoban premiere
A performance film that navigates expectations of both the audience and the makers. A series of false starts. Dub treatment on the laugh track. Looking good up front here. How you all doing tonight? This is my kinda crowd. -AP/MS

The Root that Ate Roger Williams dir. Alee Peoples
2011 | US | 18 | 16mm on video | Canadian premiere
The Root that Ate Roger Williams is a half truthful documentary of what happened to Roger Williams’ remains and half fabrication of a club based on the actual folklore of the root. Shot in 16mm, the film strikes a playful balance of truthful storytelling and sly farce of related ideas and places. -AP

Them Oracles dir. Alee Peoples
2012 | US | 7 | 16mm on video | Manitoban premiere
A skeptic investigation of what an oracle can be and what it would sound like. Human
desire and blind faith allow, and maybe even will, these mystic soothsayers to exist. -AP

Non-Stop Beautiful Ladies dir. Alee Peoples
2015 | US | 9 | 16mm on video | Manitoban premiere
Non-Stop Beautiful Ladies is a Los Angeles street film starring empty signs, radio from passing cars, and human sign spinners, some with a pulse and some without. -AP

If You Can’t See My Mirrors, I Can’t See You dir. Alee Peoples
2016 | US | 12 | 16mm on video | Canadian premiere
A study of the frame. An equal exchange between friends. -AP

Two friends share stories while Peoples explores the basic principles of the film frame. And if you think that’s the extent of it, then you haven’t yet experienced this L.A. filmmaker’s unique take on the world around us. Peoples is a beacon of understatement, her films welcoming the wackiest elements (skydancers, mall fountains, noisemakers) only to mute them to the point of bone-dry comedy. She can make cypress trees dance in the sky, produce a perfectly sculpted shot of a railroad crossing sign coming down in front of a mediocre town mural, and still bulldoze through a canyon with a pair of red and blue punch-balloons. All the clichés of Greater L.A. are putty in Alee Peoples’ hands. More, please. -Michael Sicinski on Alee Peoples’ If You Can’t See My Mirrors, I Can't See You

* images from Alee Peoples' Them Oracles (top) and If You Can’t See My Mirrors, I Can’t See You (bottom)