Vever (2019)

三位电影制作者的跨代约束，他们寻求替代他们固有的权力结构的可能性。每个女人都像伸出援助之手一样，把目光延伸到她不在的主题上。韦弗（为芭芭拉）成长于玛雅德伦和芭芭拉汉默的废弃电影项目。1975年，在一个摩托车旅行锤的最远点被击中，来到危地马拉，在1950年代的海地，德伦思考了失败、遭遇和开始。
vever是海地伏都教中用来调用一个LOA或上帝的象征性绘画。
A cross-generational binding of three filmmakers seeking alternative possibilities to the power structures they are inherently part of. Each woman extends her gaze like an offered hand to a subject she is outside of. Vever (for Barbara) grew out of the abandoned film projects of Maya Deren and Barbara Hammer. Shot at the furthest point of a motorcycle trip Hammer took to Guatemala in 1975, and laced through with Deren’s reflections on failure, encounter, and initiation in 1950s Haiti.
A vever is a symbolic drawing used in Haitian Voodoo to invoke a Loa, or god.