Just over one month since its Centre Pompidou Paris launch, ASVOFF (A Shaded View on Fashion Film) 4 has already made its way across the globe to Tokyo, and will now travel West making its American debut at the 10th Edition of Art Basel/Miami Beach December 1st-4th, the most prestigious art show in the Americas. The ASVOFF 4 Miami screenings, in collaboration with the Morgan Hotel Group and ACRIA (AIDS Community Research Initiative of America), will take place at the Delano Hotel in an Art Basel/Miami endorsed event, ‘ART BASEL/MIAMI LOVES FASHION FILM’. Delano Hotel – 1685 Collins Avenue  Miami Beach, FL

Beatniks take over a school in this collaboration by James Franco & Adarsha Benjamin. Shot in NYC.

Brian Butler & Kenneth Anger at the opening of Kenneth Anger: ICONS exhibit at MoCA Los Angeles. Photograph by Brad Elterman.

London based video artist and photographer Luke Prior creates a surreal, colorful, and somnambulant short film entitled Tired Horses. See film after the jump. [SEE MORE...]

“I write my own rules day by day,” Jeanne Moreau once said, and few actresses of her generation can claim to have rewritten the rules of film stardom with as much conviction. After her provocative performance in Louis Malle’s The Lovers (1958), Moreau (b. 1928) was touted as the next Brigitte Bardot, but she was always something more than an object of desire. Whether cool and cunning or frank and free-spirited, each of her characters projects a worldly intelligence; behind her heavily shadowed eyes are depths of private knowledge. As she has said, “Beyond the beauty, the sex, the titillation, the surface, there is a human being. And that has to emerge.” An accomplished stage performer who had appeared in a few B movies, Moreau was nearly thirty when Malle persuaded her to star in his first feature, Elevator to the Gallows (1958). “It was,” she later said, “the decisive moment for the rest of my life.” By the time she played the captivating Catherine in François Truffaut’s Jules and Jim (1961), she was at the crest of the New Wave. Moreau’s talent drew the attention of many major directors: Michelangelo Antonioni, Luis Buñuel, Jacques Demy, Orson Welles. All of these artists are indebted to a woman whom Welles, with his usual combination of hyperbole and insight, called “the greatest actress in the world.” Text by Juliet Clark. Jeanne Moreau: Enduring Allure is currently on view until December 11 at the Pacific Film Archive at the University of Berkley. 

Rita Lino is an unabashed, self exploratory photographer based in Porto, Portugal. Her work delves deep into the psyche of the feminine in a post-modern landscape where there is no curtain to hide behind.  Rita also makes brilliant short cinematic shorts that bring her photography to life. She just sent over her latest video, entitled Rita’s Opening, which is a personal statement of sorts of her art and work.

Sweet Violence is the first museum exhibition in the United States of the work of Sanja Iveković (b. 1949, Zagreb) covers four decades of the artist’s remarkable career. A feminist, activist, and video pioneer, Iveković came of age in the post-1968 period, when artists broke free from mainstream institutional settings, laying the ground for a form of praxis antipodal to official art. Part of the generation known as the Nova Umjetnička Praska (New Art Practice), Iveković produced works of cross-cultural resonance that range from conceptual photomontages to video and performance. Sanja Iveković: Sweet Violence is on view at the MoMA in NYC from December 18 to March 26, 2012.

Fashion film collaboration with New York based menswear designer, Dana Lee – with Benjamin Loeb, and Scooter Corkle. Shot at the Waldorf Hotel.

MOCA Los Angeles presents Kenneth Anger: ICONS, a showcase of the films, archives, and vision of one of the most original filmmakers of American cinema, on view at MOCA Grand Avenue from November 13, 2011, through February 27, 2012. A defining presence of underground art and culture and a major influence on generations of filmmakers, musicians, and artists, Anger’s films evoke the power of spells or incantations, combining experimental technique with popular song, rich color, and subject matter drawn equally from personal obsession, myth, and the occult.