Jon Behrens

"This is the second film of the Anomalies Cycle. It is a hand Painted and manipulated film. I also used the technique of bleaching and batiking of the film emulsion. The footage was then step printed on a J-K Optical Printer. Although similar in style to The Flickering of the Minds Eye I began to experiment more with other colors and different textures such as dried leaves and flowers, hair, insect parts, and a variety of different types of inks and paints. The sound track for this film was preformed by NEGATIVLAND."

This film was made from optically printed fragments of footage that I shot during the winter months in Seattle. -JB

"Kirsten McCory is the mending woman who is meandering through this hand painted and optically printed film."

Short film by Jon Behrens

A collaboration between filmmakers Jon Behrens in Seattle, Washington, and Joel Schlemowitz in Brooklyn, New York, shot on ALL SAINTS DAY, November 1, 2000. They each shot 100 feet of film at the same time of the day 3,000 miles apart, and they did not tell each other what they shot. The film was hand-processed, cut up into two-foot lengths and then cut back together, alternating between Joel's footage and Jon's footage. The soundtrack for this film was done the same way.

A hand painted/manipulated 35mm found footage film.

"In this film I began to experiment more with creating mats with liquid latex directly on the film emulsion then bleaching of all the excess image around the latex and using the clear bleached sections of film as a canvas to paint my film poem I used special inks that were custom made just for me called Keneville Dyes I then to re-photographed it all on my beloved JK optical printer. I also created this films sound design."

Film by Jon Behrens

I made this film with the help of friend Timmi Harrop she graced the screen in this liquid like atmospheric industrial performance piece. Multiple exposures, water, and weird underwater cinematography shots that create the environment drowning the viewer in a symphony of sight and sound.

This film features Kirsten McCory drinking coffee and telling me about her day.

"This film is a collaboration with friend-filmmaker, Mia Roozen Separately filming footage, unknown to the other, and splicing it together to create an abstract prosaic, a symphony of sight and sound, a subconscious exploration of neurotic origins"

"In my latest film I have began to experiment with incorporating found footage into my hand painted and optical printing filmmaking. I also experimented with using jelled light using a variety of different colours . I also created this films sound design."

I made this film from a 100ft roll of film shot entirely in one take taken on my Arriflex S camera. I trained my lens on to the city skyline and began shooting. At the end of the 100ft roll, I back winded the film to the beginning of the roll. I then re photographed the skyline from a slightly different angle and blended the two exposures with my hand. I then printed the section 4 times and gave each section its own treatment , each section becomes its own part. a portrait of a city – a City in Four Parts. -JB

Kaleidoscopic images in and about an apartment as the sun sets on a clear, late-summer day.

Behrens’ unedited film shot at Gas Works Park on July 16, 2016, with his newly acquired Arriflex camera.

This is a film that I had planed on making for more than two years before I began to shoot it. The Idea was to shoot an entire 400 ft. magazine of film from start to finish without stopping.

This film is a collaboration with filmmaker Joel Schlemowitz, on ALL SAINTS DAY 2001 we each shot 100 ft of film, at the same time of the day, 3000 miles apart, and we did not tell each other what we shot. The film was hand processed and cut up into 2ft length’s and then cut back together alternating from Joel’s footage to Jon’s until all the film was gone. This film is the follow up to ALL SAINTS DAY which was done using the same techniques the year prior soundtrack for this film was done the same way.

I made this film in the summer of 1995 and released it in the fall, this film is made up from mostly images I shot of my friend Kitty doing her fire eating routine at the Pike Street Cinema, and other images I had.

Running water and colorful lights layered over footage of the busy sidewalk outside of Vermillion conjure up a moody Seattle street scene

"I did this collaboration with filmmaker Caryn Cline. Two filmmakers, two direct animation technics, two optical printers one roll of 16mm film."