James Benning

Amy is ravaged by the notion that she is going to die tomorrow, which sends her down a dizzying emotional spiral. When her skeptical friend Jane discovers Amy’s feeling of imminent death to be contagious, they both begin bizarre journeys through what might be the last day of their lives.

In 1985, former oil rig worker Richard Linklater began a film screening society in Austin, Texas, that aimed to show classic art-house and experimental films to a budding community of cinephiles. Eventually incorporating as a nonprofit, the newly branded Austin Film Society raised enough money to fly in their first out-of-town filmmaker: James Benning. Accepting the invitation, Benning met Linklater and the two began to develop a personal and intellectual bond, leading to many future encounters. Starting in the 1960s, Benning had been creating low budget films mostly on his own, while Linklater had just begun to craft his first shorts. The filmmakers have remained close even as their careers have diverged. After the cult success of Slacker, Linklater went on to make films with Hollywood support. Benning, meanwhile, has stayed close to his roots and is mainly an unknown figure in mainstream film culture.

The Fitzgerald classic as you've never seen it, transposed to a Los Angeles of sleek modern architecture and strip-mall foot clinics.

Through diary entries and archival footage, the life of an industrial waste-dumper unfolds from youthful ambition to ecological disaster.

Using experimental narrative structure as his vehicle, Benning recreates the sensationalized and controversial circumstances surrounding Lorencia Bembenek, aka "Bambi", former "Playboy bunny" turned cop, turned accused and convicted killer who disappeared after a daring escape from prison. The film shows the evolution of Benning's and Bembenek's relationship presented through their actual letters read in voice over which depict the filmmaker's curiosity with the subject as it evolves from intrigue to a love obsession.

The American filmmaker James Benning has been one of the outstanding exponents of the structural film since the mid-1970s. Bennings artistic position has been strongly influenced by mathematics and by the creativity of mathematical thinking. With his new project 13 Lakes, James Benning goes one step further towards reducing things to a minimum. The film focuses on thirteen large American lakes (including Salton Sea, Lake Powell, and Lake Michigan) along with their geographical and historical relationship to the landscape. This documentary film was occasioned by 13 Lakes, and was shot in California, Arizona, and Utah. It accompanies the artist for a week as he searches for locations and as he films the first two shots for his own film.

an excerpt of a conversation between James and I during the Fall of 2019 - Santa Clarita, CA

A conceptual bicentennial film dealing with spatial and temporal relationships between two travelers, their car, and the geographic, political, and social changes from NY to Los Angeles.

Filmed at Benning's home in Val Verde during the first month of the pandemic, the film is a portrait of that time.

61. La Verdad Interior reveals the creative process behind TELEMUNDO [screened in the New Visions section], a collaborative film directed by James Benning and starring himself and Sofía Brito. It is a journey, an interview. The connection between a film director with a great carrier and a young actress who decides to film the creative process that thrives between the two. A film-essay in which these two beings find ways of overcoming the language barriers.

James Benning watches tv with a young girl.

A view of an Oregon farm field, observing a solar eclipse and incorporating a Leonard Cohen song.

One day, father makes a shocking decision in a family gathering. The family disagrees with it and against him in the very beginning. However, they make up their mind to support him at the end. A portrait of family disorganization casting the master of experimental film, James Benning.

Four landscape shots containing a replica of Ted Kaczynski’s cabin, one shot per season. On the soundtrack, Benning reads extracts from Kaczynski’s journals from the early 1970s, recording his progress at hunting and gathering, and his connection to the Montana wilderness; a hand-written folded sheet of paper detailing his acts of “monkey wrenching” and first attempts at planting bombs; two notebooks written in numerical code in 1985 and decoded by Benning in 2011; two excepts from Industrial Society and Its Future by "FC" (aka the Unabomber Manifesto) as published in The New York Times and The Washington Post in 1995; and a 2001 interview with Kaczynski by J. Alienus Rychalski, special correspondent for the Blackfoot Valley Dispatch.

James Benning's "Four Corners" uses a specific geographical location to pose larger questions about the United States. Here, the geographic and wholly imaginary place Four Corners, that favorite tourist destination where Colorado, New Mexico, Arizona, and Utah meet, becomes a kind of theoretical ground zero, the site from which Benning can give voice to other, pointedly unofficial American stories.

Maintenance is filmmaker Adele Horne’s exploration and meditation on house cleaning. Cleaning is one of the most private things we do in our homes, other than sex and arguments. We often feel shameful about clutter and dirt, so there is something particularly intimate and meticulous about the act of cleaning it up. Although a clean home is socially valued, the work required to achieve it is not. House cleaning exists on the shadow side of the economy, on the margins or outside of paid employment. It is an additional, uncounted form of labour that enables our roles as paid workers and consumers. This film invites viewers to meditate on the ongoing maintenance work that makes other, more highly valued labour possible.