August 10, 2018
A long-forgotten camera was the culprit for movies worth remembering.
While many filmmakers’ first brush with production arrived while making movies as children with their parents’ camcorder, few adult filmmakers have the experience of using a camera designed for children to make their feature films.
Such is the case with a select few, however, including Sadie Benning, Elisabeth Subrin, and Michael Almereyda, each of whom used the long-forgotten PXL 2000—an affordably clunky Fisher Price camera designed for children usage in the late 1980s—to make independent work on the blurry, often pixelated image-capturing device.
New York’s Film Society of Lincoln Center and Brooklyn-based Light Industry have teamed up for Flat is Beautiful: The Strange Case of Pixelvision, a one-week retrospective series that unearths these black-and-white wonders and projects them onto a screen much larger than the filmmakers could have ever expected.