Call Her Applebroog

Beth B / USA / 2016 / 70 min
Sun 8 May, 20.30

European premiere / Closing film. With an introduction by Babeth Vanloo, film director, producer, and media artist.

This deeply personal portrait of internationally acclaimed artist Ida Applebroog was shot with mischievous reverence by her daughter, veteran filmmaker Beth B. Born in the Bronx to Orthodox Jewish émigrés from Poland, Applebroog, now in her 80s, looks back at how she expressed herself through decades of drawings and paintings, as well as her private journals. With her daughter’s encouragement, she investigates the stranger that is her former self, a woman who found psychological and sexual liberation through art.

Ida Applebroog paintings and sculptures often explore the themes of gender, sexual identity, violence, and politics.
An early member of Heresies, a collective of artists and writers that published the influential journal Heresies: A Feminist Publication on Art and Politicsin the 1970s and '80s, Applebroog was actively involved in the development of feminist art. Inspired by cartoons and comic books, her work uses black humor and the aesthetic of popular imagery to examine pressing social and political concerns.

The film is a tableau of Applebroog’s groundbreaking work and, more intimately, her dynamic family relationships, mediated by the presence of her daughter behind the camera.

About the director

Beth B is an interdisciplinary artist working in narrative, documentary and experimental films, videos, media, photography and sculpture installations for museums, galleries, public art spaces, theaters and television. Beth B’s career has been characterized by work that challenges society’s conventions, and that focuses on recasting and redefining concepts relating to the mind and body.

Beth B exploded onto the New York underground scene in the late ‘70s, creating installation art works and directing Super-8 films. Together with her husband Scott B they were among the best-known New York No Wave underground filmmakers of the late 1970s and early 1980s.


Reviews

“A revealing doc of the most personal kind.”
– The Hollywood Reporter


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