Matt Barry

A dystopian satire about censorship and film preservation.

An independent filmmaker is hired to shoot surveillance footage of an unknown purpose for a mysterious client, leading to a conversation about the relationship between cinema and surveillance.

An independent filmmaker, researching a film about Dashiell Hammett, comes to Baltimore in search of elusive mystery writer Charles David Hammitt, his consultant on the film, who has gone missing.

An independent filmmaker and a film historian discuss ideas about sound and image, documentary, and authorship, while planning a film about a (fictional) early cinema pioneer.

Under house arrest following his attempted escape from the State, renegade film historian Kevin Quartermain is tasked by the Minister of Communication with deciphering the meaning behind a mysterious video signal that has appeared on the State Communication Channel. He enlists the help of his old friend, archivist George Kaplan, who now exists only as an AI simulation inside the Image Chamber. Their search for answers about the footage leads them back to the birth of cinema itself.

An experimental, abstract mystery involving a filmmaker, a thumb drive containing video footage, and an examination of images left behind.

A dystopian satire about censorship and film preservation.

An independent filmmaker is hired to shoot surveillance footage of an unknown purpose for a mysterious client, leading to a conversation about the relationship between cinema and surveillance.

Experimental film showing a park and buildings in midtown Manhattan.

An independent filmmaker, researching a film about Dashiell Hammett, comes to Baltimore in search of elusive mystery writer Charles David Hammitt, his consultant on the film, who has gone missing.

An independent filmmaker, researching a film about Dashiell Hammett, comes to Baltimore in search of elusive mystery writer Charles David Hammitt, his consultant on the film, who has gone missing.

Observational film of a park on a fall afternoon.

Experimental observational film of ice mounds evaporating on a warm night.

An experimental, observational study of passing storm clouds.

Experimental video of Christmas lights at late evening in New York City.

An independent filmmaker and a film historian discuss ideas about sound and image, documentary, and authorship, while planning a film about a (fictional) early cinema pioneer.

Under house arrest following his attempted escape from the State, renegade film historian Kevin Quartermain is tasked by the Minister of Communication with deciphering the meaning behind a mysterious video signal that has appeared on the State Communication Channel. He enlists the help of his old friend, archivist George Kaplan, who now exists only as an AI simulation inside the Image Chamber. Their search for answers about the footage leads them back to the birth of cinema itself.

Under house arrest following his attempted escape from the State, renegade film historian Kevin Quartermain is tasked by the Minister of Communication with deciphering the meaning behind a mysterious video signal that has appeared on the State Communication Channel. He enlists the help of his old friend, archivist George Kaplan, who now exists only as an AI simulation inside the Image Chamber. Their search for answers about the footage leads them back to the birth of cinema itself.

Observational study of a backyard in late fall, accompanied by natural sounds.

An experimental, abstract mystery involving a filmmaker, a thumb drive containing video footage, and an examination of images left behind.

A camera study of Edgar Allan Poe's gravesite.

A meditative experimental film. A man sits in the park and observes the passing clouds.

In CINEVANGELIST: A LIFE IN REVIVAL FILM, film historian and artist George Figgs tells the story of his life's work in bringing revival cinema to Baltimore and beyond. From his role in Baltimore's underground film scene of the 1960s and his involvement with the Orson Welles Cinema in Cambridge during the early '70s, to helping manage Baltimore's celebrated Charles Theatre in the '80s, owning and operating the Orpheum Cinema during the '90s, and continuing with the "third wave" of revival cinema today, Figgs has made it his mission to bring alternative films to the audiences who want to see them, in the way they were meant to be seen.