Gently Down The Stream （优游而下）
翻译：陈嫣
在下文中词与短句的空格是为了模拟屏幕上文本的节奏。而横线则是表示梦与梦间的间断。
徘徊着 在那些巨大而寂静的房间
一个老朋友说 什么
你在这里做什么 ？
我说 那些织布工
像奴隶一样劳作着 为了编制 这些毯子
沉思
她高声叫喊 为什么
你要来这儿
并且破坏一切？
这是一个纯净的现代社会！
____________________________________________
走进教堂
我妈妈 颤抖
出神
喃喃诉说着对高潮的祈祷
我开始哭泣
____________________________________________
在水中 在一个救生艇旁
我看见了一个女人
正在游泳和潜水
穿着泳衣
可以看见她的阴毛
____________________________________________
一个女人 坐在一个舞台上
搭建 在一个角落
她叫唤着一个朋友
从观众中
对他说
过来，来和我做爱
她做了
我不可以看
他咕噜到 我不可以
不可以把握你
上一次太
紧张了 那么多的回忆
____________________________________________
在床上的女人颤抖着
我叫醒她
她很生气
把果酱涂抹
在我的唇上
不！
____________________________________________
走进教堂
一只血淋淋的毛茸茸的前臂被撕扯下来
从某个动物的
身体
是它自己把自己的胳膊扯下来的吗？
____________________________________________
我做了另一条
阴道
在我的第一条的旁边
我讶异地看着
哪一条
才是原来的呢？
____________________________________________
盖一座样板房
给某些男人
没有痛苦地做
错误地做
____________________________________________
我画了一个男人
拿他的表皮
来充气
兴奋起来
骑在上面
____________________________________________
那就像是堕入爱河
和一个直率的女人
我躺在一个水沟里
正在生产我自己
两个胎儿 暗绿色的 并且
皱巴巴的
他们努力呼吸着以免
窒息
我可以拉出其中一个
但它开始粉碎
____________________________________________
五个女人在唱in acapella
有趣的和谐
她们用德文拼出了”真理“
我说“无知”
一个男人说
她们的歌有巧妙的双关
我说 我不同意
我不懂德文
____________________________________________
一只 美洲豹
吃了两只兰色的蜂鸟
嗡嗡的叫着
我感觉着那些羽毛
我的 舌头
在跳动 在我的
骨头上嘀咕 心说出 羽毛
嗡嗡的说 在我的 舌头上
http://www.sufriedrich.com/content.php?3panel=1&sec=photo
苏弗里德里希
Su Friedrich's website: www.sufriedrich.com苏弗里德里希的网站：www.sufriedrich.com
Cool Hands, Warm Heart手冷，暖心
A semi-narrative adventure in which one woman confronts several others, as they each perform typical feminine hygiene rituals on a crowded city street.阿半冒险故事，其中一名妇女面临的几个人，因为他们都执行一个拥挤的城市街道典型的女性卫生用品仪式。
"Building on proverbs, metaphor, and the principle of a radical feminist imagination, Friedrich creates a world in which women's private rituals become public spectacles. Filmed in the streets of New York's Lower East Side, COOL HANDS, WARM HEART works through questions of danger, attraction, violence, and, ultimately, the transformative power of bonding between women. This work is an unusually original vision, re-imaging public space as a sort of Cool World inhabited by women of daring." “建立在谚语，比喻，一个激进的女权主义者想象的原则，弗里德里希创造一个世界中，妇女的私人仪式成为公共眼镜。在纽约的下东城，冷静的手，温暖的心街头拍摄的作品，通过危险的问题，吸引力，暴力，以及最终的男女之间结合的变革力量。这项工作是一个不同寻常的最初的设想，重新成像作为一种冷却敢于妇女居住的世界排序的公共空间。“ - B. Ruby Rich -二红宝石里奇
Award: Special Merit Award, Athens Int'l Film Festival, 1980.奖项：特别优异奖，雅典国际电影节，1980。
Exhibition: Women's Film Festival, NY, 1981; Women's Film Festival, Munich, 1982.展览：妇女电影节，纽约，1981年;妇女电影节，慕尼黑，1982。
1979, 16mm, b&w/si, 17m, $50 1979年，16毫米，黑白/市，1700，$ 50
VHS Sale: $150录影带特价：$ 150
Scar Tissue疤痕组织
I combined simple, repetitive images with varying amounts of clear and black leader in order to notate as precisely as possible the essential rhythms and emotions of midtown Manhattan, while simultaneously undermining them.本人结合不同程度的明确和黑人领袖的数额，以notate尽可能准确的基本节奏和曼哈顿中城的情感简单，重复的图像，同时破坏它们。 SCAR TISSUE concerns the chaste being chased and the captor being captive.瘢痕关注的贞洁被追赶和绑架者被俘虏。
"... powerful and economic. Setting out to film street activity, Friedrich ends up with basically two images - women's legs skittering in high heels, and men's midsections, hands folded self-righteously across stuffed shirts or planted belligerently in pockets. Juxtaposed, the two appear as if from totally different species; the film left me with a yen to see one of those heels planted splat in the middle of one of those bellies." “...强大的经济。设置进行拍摄街头活动，最终与弗里德里希基本上两个图像-女性的腿skittering穿着高跟鞋，和男子midsections，双手交叉理直气壮虽曾在自己口袋里或种植在好战的。并举这两个看起来好像是完全不同的物种;电影留下了日元我看到种植在这些肚子一中图标的一脚。“ - Amy Taubin, The Village Voice -艾米Taubin， 村声
Exhibition: Whitney Museum of American Art, 1987; Rotterdam Film Festival, 1988.展览：惠特尼美国艺术博物馆，1987年博物馆;鹿特丹电影节，1988。
1979, 16mm, b&w/si, 7m (18fps), $20 1979年，16毫米，黑白/市，7分（18fps），$ 20
Gently Down the Stream缓缓的流
Constructed from fourteen dreams taken from my journals.从我的建造期刊进行了十四项的梦想。 The text is scratched directly onto the film, so that you hear your own voice as you read.该文被划伤直接到电影，让你听到自己的声音，当你阅读。 The "framed" images accompanying the words are of women, water, animals and saints, which were chosen for their indirect but potent correspondence to the text.该“框架”图像伴随字的妇女，水，动物和圣徒，这些是他们选择了间接但有力信件文本。
"... her films (particularly the celebrated GENTLY DOWN THE STREAM) signalled an important change that was occurring within the evolution of experimental cinema ... ［I］t demonstrates her considerable technical talents and formal creativity." “...她的电影（尤其是顺水庆祝轻轻）标志着一个重要的变化是内发生的实验电影的发展... ［一］吨展示她的大量的技术人才和正式的创造力。” - Bruce Jenkins, Millennium Film Journal "The film portrays a dreamscape where society's conflicts step on stage in muted, mysterious forms." -布鲁斯詹金斯，千年电影杂志“电影描绘了一个梦境在社会冲突的步骤在静音，神秘形式的阶段。” - Kathleen Hulser, In These Times -凯瑟琳Hulser， 在这个时候
"What's so striking is her use of film to create a language which corresponds materially to the semi-conscious state between dreaming and waking." “这有什么惊人的是她的电影来创建对应的语言重大的半梦与醒之间的昏迷状态。” - Jo Comino, City Limits, London Exhibition: Osnabr ck Media Arts Festival, 1983; Women's Film Festival, NY, 1983; Women's Film Festival, Montreal, 1985; Haifa Int'l Film Festival, Israel, 1985; Experimental Film Festival, Argentina, 1983. -乔科米诺，市限额，伦敦展览：Osnabrck媒体艺术节，1983年，妇女的电影节，纽约，1983年，妇女的电影节，加拿大蒙特利尔，1985年;海法国际电影节，以色列，1985年;实验电影节，阿根廷，1983。
1981, 16mm, b&w/si, 14m (18fps), $45 1981年，16毫米，黑白/市，14分（18fps），$ 45
VHS Sale: $150录影带特价：$ 150
But No One但没有人
As in GENTLY DOWN THE STREAM, I began with a dream, but this time the words appear alone, on black, scratched in a more variegated style. They create images and rhythms independent of the filmed images, so that you "read to the beat."正如在缓缓流，开始时我的梦想，但这一次单独出现的话，在黑色，更加多样的风格划伤。他们创造的图像和节奏的独立拍摄的图像，让你“读的节拍。“ The filmed images of construction workers, prostitutes, firefighters and fish for sale are quite familiar, while the text describes a nightmare whose characters are all implicated in a terrible conflict.建筑工人，妓女，消防队员和出售鱼类的拍摄图像十分熟悉，而文字描述了一个故事人物，都在一种可怕的冲突有牵连的恶梦。 I couldn't decide who to "blame" for the dream, so the fat boy, the women, the babies and myself all became suspected and inspected through the making of the film.我不能决定谁的“归咎于梦想”，所以肥胖的男孩，妇女，婴儿和我本人都成了被怀疑，并通过检查的电影制作。
"... it threatens like an unlit alley." “...它威胁。像亮灯巷” - Barbara Kossey, LA Artweek -芭芭拉Kossey， 洛杉矶Artweek
"Vernacular but tough-minded images are laced together with a sharply etched, poetic text which conveys high-powered metaphors and the pensive, paradoxical and gentler side of her thoughts and feelings." - Lindley Hanlon, Millennium Film Journal “白话，但顽强的图像连同股价大幅蚀刻，诗歌文本，传达高层的比喻和，在沉思，似是而非，她的温柔的思想和感情的一面。” -林德利汉纳， 千年电影杂志
1982, 16mm, b&w/si, 9m (18fps), $30 1982年，16毫米，黑白/市，10分（18fps），$ 30
VHS Sale: Inquire录影带销售：供应
The Ties That Bind即困兽
An experimental documentary about my mother's life in Nazi Germany and her eventual marriage to an American soldier.一个关于我的母亲在纳粹德国和她的婚姻最终以一名美国士兵的生命实验的纪录片。 In the voiceover, she recounts her experiences, while the images portray her current life in Chicago, the assembly of a model German house, contemporary peace marches, archival footage of Germany, sensationalist newspaper headlines, her first years in America, and much more, woven together to create a dialogue between past and present, mother and daughter.在配音，她讲述她的经历，而她目前的形象描绘生活在芝加哥一个德国的房子模型组装，当代和平游行，德国档案录像，耸人听闻的标题，她的头几年在美国，等等，编织在一起，创造一个过去与现在，母亲和女儿的对话。
"The best of the New Directors/New Films Festival. ... The film is an original: a moving and courageous tribute from a child to her mother's beleaguered memory."他说：“最佳新导演/新电影节。...这部影片是一个原始：一移动，从一个孩子勇敢赞扬她母亲的围困记忆。” - David Edelstein, The Village Voice -大卫尔斯坦， 村声
"... the ties that bind are not only the supposed benevolences of motherhood, but also the repressive dictates of the Fatherland .... In effect the film is like a court transcript of a mother brought to trial (albeit kindly) by her own daughter ... ［I］t connects its effective literalism with a group of complex issues: the shifting attributes of memory, the repression of familial contempt and the economy of fascism." “...了连接的纽带，不仅是母亲的所谓benevolences，而且镇压祖国....支配实际上电影像母亲法庭笔录受审（尽管谨）由她自己的女儿... ［一］吨连接在一起的复杂问题的有效写实主义集团：内存转移属性，家族蔑视镇压和法西斯主义的经济。“ - Barbara Kruger, Artforum -芭芭拉克鲁格， 艺术论坛
Exhibition: New Directors/New Films, Museum of Modern Art, NY, 1985; Whitney Museum of American Art Retrospective, 1987; Women's Film Festivals in Montreal, Rome, and Holland, 1984-1986; Festival of NY Independent Films in Haifa, Tel Aviv and Jerusalem, 1986.展览：新导演/新电影，现代艺术，纽约，1985年博物馆，惠特尼美国艺术回顾展，1987年博物馆;妇女电影在蒙特利尔，罗马和荷兰，1984-1986节日，在纽约独立电影节在海法，电话特拉维夫和耶路撒冷，1986年。
1984, 16mm, b&w/so, 55m, $145 1984年，16毫米，黑白/如此，5500元，145元
VHS Sale: $245
Damned If You Don't诅咒如果你不
"... a real prize. Beautifully shot in black and white, it blends 'conventional' narrative technique with impressionistic camerawork, symbols, and voiceovers to create an intimate study of sexual expression and repression. ［It begins with footage from］ a stylist old potboiler about an isolated convent, whose tale of passions leashed and unleashed provides the leitmotif for a young lesbian who watches it and the lonely nun she pursues and seduces. As the two women's lives come closer to joining, voiceovers from the biography of a 16th century lesbian nun and the reminiscences of a woman's closeted romances at a Catholic school flesh out the theme. ... When the two women finally meet and make love, the woman's careful unwrapping of the nun's complicated prison of clothing is both foreplay and liberating metaphor. The film is as hypnotic as a dream." “...一个真正的奖品。漂亮的白纸黑字，拍摄它融合'传统'与写意的摄影，符号的叙事手法，并配音创造一种镇压性的表达和亲密的研究。［它从镜头来自］一师老potboiler约一个孤立的修道院，是受到约束的激情故事，发动提供了一个年轻的女同志谁手表，并尼姑，她孤独的追求和引诱的主旋律。由于两个妇女的生活更接近加入，从第16传记配音世纪同性恋尼姑和一个女人的密谈恋情的回忆了在一所天主教学校肉主题。...当两个女人终于见面做爱，女人的是修女的服装复杂监狱仔细去包裹既爱抚和解放隐喻。这部电影是催眠的一个梦想。“ - Andrew Rasanen, Bay Windows -安德鲁雷塞宁， 窗台
"... passionate and genuinely innovative ... a lyrical evocation of the mystery of memory and the development of sexual identity." “...真正的创新热情，...一个神秘的内存唤起和抒情性认同的发展。” - Amy Taubin, The Village Voice -艾米Taubin， 村声
"... as good humored as it is daring." “...好幽默的，因为这是大胆的。” - Scott Macdonald, Film Quarterly -斯科特麦克唐纳， 电影季刊
Awards: Best Experimental Film, Athens Film Festival, 1989; Best Experimental Narrative Film, Atlanta Film and Video Festival, 1988.奖项：最佳实验电影，雅典电影节，1989年;最佳实验故事片奖，亚特兰大电影及录像展，1988年。
Exhibition: Biennial Exhibition, Whitney Museum of American Art, 1989; film festivals in NY, Chicago, Los Angeles, SF, Toronto, Winnipeg, London, Creteil, Denmark.展览：双年展，惠特尼美国艺术博物馆1989年，在纽约，芝加哥，洛杉矶，港协，多伦多，温尼伯，伦敦，克雷泰伊，丹麦电影节。
1987, 16mm, b&w/so, 41m, $140 1987年，16毫米，黑白/如此，41分，$ 140
VHS Sale: $245录影带销售：245美元
Sink or Swim自生自灭
Through a series of twenty-six short stories, a teenage girl describes the childhood events that shaped her ideas about fatherhood, family relations, work and play.通过一系列的20个短篇故事，描述一个女孩塑造的童年，她对父亲的想法事件，家庭关系，工作和娱乐。 As the stories unfold, a dual portrait emerges: that of a father who cared more for his career than for his family, and of a daughter who was deeply affected by his behavior.随着故事的展开，出现双重肖像：即谁的父亲，他比他的家庭事业的关怀，以及一个谁也深受他的行为影响的女儿。 Working in counterpoint to the forceful text are sensual black and white images that depict both the extraordinary and ordinary events of daily life.在对位工作的强有力的文字是感性的黑白图像，既描绘日常生活特殊和普通的事件。 Together, they create a formally complex and emotionally intense film.他们共同创建一个正式复杂和情绪激烈的电影。
"SINK OR SWIM is the kind of non-commercial but accessible film that throws a new and startling light on familiar subject matter." “优胜劣汰是一种非商业电影，但访问会抛出一个熟悉的题材和惊人的新灯。” - Michael Upchurch, Seattle Times -迈克尔厄普丘奇， 西雅图时报
"［A］ personal chronicle about language, memory and Dad that strikes hard, and deep." “［一］个人纪事的语言，记忆和爸爸的罢工硬，深。” - Manohla Dargis, The Village Voice -影评人马诺拉达吉斯， 村声
"Much of the richness of this autobiographical film, whose honest engagement with essential human dilemmas proves immensely moving, stems from its refusal to make simple choices or settle into unambiguous positions."大部分本自传电影，其基本的人类困境与诚实的参与丰富的“证明极其移动，造成的。从简单的拒绝作出选择或定居成坚定的立场” - Fred Camper, Chicago Reader -弗雷德坎珀， 芝加哥读者
Awards: Grand Prix, Melbourne Film Festival; Golden Gate Award, SF Int'l Film Festival; Best Experimental Film, USA Short Film and Video Festival.奖项：大奖赛，墨尔本电影节;金门奖，协国际电影节，最佳实验电影，美国短片及录像节。
1990, 16mm, b&w/so, 48m, $150 1990年，16毫米，黑白/如此，48分，$ 150
VHS Sale: $245录影带销售：245美元
First Comes Love首先是爱
FIRST COMES LOVE is somewhat like an extended musical number, with perfectly choreographed scenes of four traditional wedding ceremonies accompanied by a schizophrenic, but amusing, medley of popular love songs.首先是爱，是有点像一个扩展的音乐数量，与四个传统婚礼仪式的同时巧妙的场景，精神分裂症，但有趣，混合泳的流行情歌。 The celebratory atmosphere is interrupted midway through to remind us that there are still a few countries in the world that refuse to legitimate homosexual unions.在庆祝气氛中途中断，提醒我们，还有世界上少数几个国家的拒绝同性恋合法的工会。 The song and dance then proceeds until the happy couples depart, leaving behind a dwindling crowd and a few altar boys, who carefully sweep up the rice that covers the pavement like snow.这首歌曲和舞蹈然后继续，直到幸福的夫妇离开，留下了减少人群和几个祭坛男孩，谁认真打扫米覆盖路面的积雪一样离开。
The film doesn't attempt to defend or discredit the institution of marriage.这部影片没有试图保卫或诋毁婚姻制度。 Instead, it reveals many subtle emotions surrounding the event and raises questions about how the double standard regarding marriage affects both gay and straight couples.相反，它显示了许多周围的事件微妙的感情，由此引发的双重标准，如何在婚姻影响到同性恋和异性恋夫妇的问题。
Exhibition: Festival of Festivals, Toronto, 1991; MIX NYC: NY Lesbian and Gay Experimental Film/Video Festival, 1991.展览：在节日，多伦多，1991节;混合纽约：纽约同性恋实验电影/录像节，1991。
1991, 16mm, b&w/so, 22m, $75 1991年，16毫米，黑白/如此，22分，75美元
VHS Sale: $195录影带特价：$ 195
Rules of the Road道路规则
RULES OF THE ROAD takes a searching look at how our dreams of freedom, pleasure, security and love are often symbolized by one of our favorite objects: the automobile.拘押规则需要在如何自由，快乐，安全和热爱我们的梦想，往往是一个我们最喜欢的对象：汽车象征搜索看看。
"... the light, almost whimsical tone of the film should not blind us to the part of it that is irreducibly personal. Station wagons are everywhere; everybody's got a sad love story. But only one filmmaker, to my knowledge, has Su Friedrich's eye .... With RULES OF THE ROAD, she creates a film like a perfect short story." “...轻，几乎异想天开的影片的基调不应该使我们看不到的那一部分是不可还原的个人。旅行车到处都是，每个人都得到了悲伤的爱情故事。制片人，但只有一个，据我所知，有苏弗里德里希的与公路规则....眼睛，她创建了一个像一个完美的短篇小说的电影。“ - Stuart Klawans, The Nation -斯图尔特Klawans， 国家
"Filmed with her trademark energy and intensity ... it boasts an uncommon amount of visual and narrative imagination." “与她的商标能量和强度拍摄...它拥有的视觉和叙事想象力罕见的数额。” - David Sterrit -大卫Sterrit
"Friedrich makes elegant road kill of her emotional fixation ... it's a funeral parade for a love that gets comically, and ironically, stuck in traffic." “弗里德里希使高雅的道路杀死她的情绪固定...这是一个为爱得到滑稽和讽刺的是，塞车，葬礼游行。” - Susan Gerhard, The San Francisco Bay Guardian -苏珊格哈， 旧金山湾区卫
Exhibition: Premiere, New Directors/New Films, Museum of Modern Art, NY; Melbourne, Sydney, Wellington, Toronto, Vancouver, NY, Philadelphia and SF film festivals.展览：首映，新导演/新电影，现代艺术，纽约博物馆，墨尔本，悉尼，惠灵顿，多伦多，温哥华，纽约，费城和SF电影节。
1993, 16mm, color/so, 31m, $195 1993年，16毫米，颜色/如此，31分，195美元
VHS Sale: $275录影带特价：275元
Hide and Seek捉迷藏
Hide and Seek is a daring exploration into wild, uncharted territory--lesbian adolescence in the 1960's.捉迷藏是为野生，未知的领域-同性恋青少年大胆探索，在20世纪60年代。 Lou is a 12 year old girl who daydreams in a tree house, tries not to watch a sex education film, wins a rock throwing contest, and is horrified to discover that her best friend is taking an interest in earrings and boys.娄是一个12岁的女孩谁在树上的房子白日梦，试图不看性教育电影，赢得了比赛投掷石块，并震惊地发现，她最好的朋友正在一个耳环和男孩的兴趣。 Interwoven with Lou's story are the mostly hilarious, sometimes painful recollections of adult lesbians who try to figure out how they ever got from there to here.与卢的故事交织大多是热闹，成年同性恋者谁揣摩他们如何从那里过了到这里有时是痛苦的回忆。 Completing the picture are clips from a wide array of old scientific and educational films which blend seamlessly with the beautiful black and white images of Lou's world. HIDE AND SEEK is for every woman who's been to a slumber party and every man who wonders what went on at one.完成剪辑的图片是从一个古老的科学和教育片广泛的融入美丽的黑白两色的娄的世界图像的无缝连接。捉迷藏每谁是去过沉睡党和每个人谁不知什么地方的女人在一个。
"Hide and Seek is rueful, funny, multifaceted and sharply intelligent." “捉迷藏是怜悯的，有趣的，多方面的，并能大幅聪明。” - Stuart Klawans, The Nation -斯图尔特Klawans，国家
"Hide and Seek is A Girl's Own Story for lesbians. Friedrich has woven a rich and provocative tapestry that assaults complacent assumptions about pubescent desire and lesbian identity, all the while raising important questions about the representation of racial and sexual fantasy life. ［The film is］ thoroughly engaging from beginning to end." “捉迷藏是女孩的。弗里德里希有编织的挂毯丰富和挑衅女同志自己的故事，大约青春期欲望和同性恋身份攻击自满的假设，而同时提高人们对种族和性幻想中的代表性的重要问题。［电影是］进行彻底从开始到结束。“ - Yvonne Rainer -赖伊冯娜
Produced with funding from ITVS, the NEA, and the New York State Council on the Arts.生产与独立电视服务，在东北亚和纽约州艺术委员会的资助。
Awards: Outstanding Documentary Feature, OutFest Gay and Lesbian Film Festival '97; Best Narrative Film, Athens International Film and Video Festival; Special Jury Award, The New York Gay and Lesbian Film Festival; Juror's Choice, Charlotte Film Festival; Honorable Mention, Image Film and Video Festival奖项：杰出纪录长片，OutFest同性恋电影节'97;最佳故事片奖，雅典国际电影及录像节，评委会特别奖，纽约同性恋电影节;陪审员的选择，夏洛特电影节;荣誉奖，图像电影及录像展
Exhibition: Sundance Film Festival; Berlin International Film Festival; Frameline Film Festival, Women In the Director's Chair; Inside Out Festival, Toronto; Umea Film Festival, Sweden; Melbourne Film Festival, Australia; Seoul Queer Film and Video Festival, Korea; MIX Festival, Brazil; ; Tokyo International Lesbian & Gay Film Festival, Japan; SXSW Film Festival, Texas; Dublin Gay & Lesbian Film Festival, Ireland展览：圣丹斯电影节，柏林国际电影节; Frameline电影节，在主任的椅子里到外节，多伦多妇女;默奥电影节，瑞典;墨尔本电影节，澳洲，韩国酷儿电影及录像展，韩国;混合节，巴西;;东京国际女同性恋和同性恋电影节，日本电影节SXSW，得克萨斯州都柏林同性恋电影节，爱尔兰
1996,16mm, b&w/so, 65m, $150 1996,16毫米黑白/如此，6500万，$ 150
The Odds of Recovery复苏的赔率
Faced with her sixth surgery and an ongoing hormone imbalance, the filmmaker turns the camera on a difficult patient—herself—and analyses the chances for a happier, healthier life.与她的第六次手术和持续内分泌失调面前，电影开启了一个困难的病人相机自己，并分析了一个快乐，健康的生活机会。
"...the deft interplay of voices, words and images creates a steady accretion of metaphors and insights that are sharp and multilayered. While Friedrich effectively critiques Western medicine and demonstrates exhilarating filmmaking skills, its true achievement is as self-portraiture, boldly revealing a woman in all her difficult, naked complexity." “...的声音，文字，图象灵巧的相互作用所造成的比喻和见解，是雪亮的，多层次的不断扩大，。虽然弗里德里希有效地批评西药并演示了令人兴奋的电影制作技术，它的真正实现是自画像，大胆揭示在她所有的困难，赤裸裸的复杂的女人。“ - Holly Willis, LA Weekly -霍利威利斯，洛杉矶周报
"...engrossing, good-humored, and confidently assembled...Recovery captures the frustration, tedium and petty annoyances of a revolving-door relationship with medical practitioners." “...引人入胜，非常友善，并自信地组装...恢复抓住了挫折，单调和循环与医生门的关系小麻烦。” - Dennis Harvey, Variety -丹尼斯哈维，品种
"What could have been a health-care screed becomes a middle-aged meditation on mortality. 'You frighten yourself with that fear of not being totally in control,' says her therapist. 'What would happen if you gave that up?' “什么可能是一个保健找平成为中年死亡率冥想。'你吓唬认为没有完全控制自己的恐惧，'说，她的治疗。会发生什么，如果你给了吗？' One answer is Odds itself, which settles down into its own engagingly crafted, smoothly mellow rhythm."一个答案是赔率本身，而平息下来，到自己的动人地制作的，柔和的节奏顺利。“ - Ed Halter, The Village Voice -埃德沃特，村声
Awards: Femmedia Award—Best Documentary, Identities 2003 Film Festival, Austria奖项：Femmedia奖，最佳纪录片，个人2003年电影节，奥地利
Exhibition: Madcat Women's Film Festival; National Women's Studies Association Conference; Wisconsin Film Festival; Women In the Director's Chair, Chicago; London Lesbian and Gay Film Festival; Athens Film Festival; The New Festival at BAM; American Society for Bioethics and Humanities Conference, Montreal展览：Madcat妇女电影节，全国妇女研究协会的会议;威斯康星州电影节，妇女在导演椅，芝加哥，伦敦同性恋电影节，电影节雅典;新的节军火市场，美国社会的伦理与人文会议，蒙特利尔
2002, 16mm, b&w/so, 65m, $150 2002年，16毫米，黑白/如此，6500万，$ 150
Note: All videotape sales are for institutional use only.注：所有录像带的销售机构使用的唯一。
Su Friedrich
Su Friedrich's website: www.sufriedrich.com
Cool Hands, Warm Heart
A semi-narrative adventure in which one woman confronts several others, as they each perform typical feminine hygiene rituals on a crowded city street.
"Building on proverbs, metaphor, and the principle of a radical feminist imagination, Friedrich creates a world in which women's private rituals become public spectacles. Filmed in the streets of New York's Lower East Side, COOL HANDS, WARM HEART works through questions of danger, attraction, violence, and, ultimately, the transformative power of bonding between women. This work is an unusually original vision, re-imaging public space as a sort of Cool World inhabited by women of daring." - B. Ruby Rich
Award: Special Merit Award, Athens Int'l Film Festival, 1980.
Exhibition: Women's Film Festival, NY, 1981; Women's Film Festival, Munich, 1982.
1979, 16mm, b&w/si, 17m, $50
VHS Sale: $150
Scar Tissue
I combined simple, repetitive images with varying amounts of clear and black leader in order to notate as precisely as possible the essential rhythms and emotions of midtown Manhattan, while simultaneously undermining them. SCAR TISSUE concerns the chaste being chased and the captor being captive.
"... powerful and economic. Setting out to film street activity, Friedrich ends up with basically two images - women's legs skittering in high heels, and men's midsections, hands folded self-righteously across stuffed shirts or planted belligerently in pockets. Juxtaposed, the two appear as if from totally different species; the film left me with a yen to see one of those heels planted splat in the middle of one of those bellies." - Amy Taubin, The Village Voice
Exhibition: Whitney Museum of American Art, 1987; Rotterdam Film Festival, 1988.
1979, 16mm, b&w/si, 7m (18fps), $20
Gently Down the Stream
Constructed from fourteen dreams taken from my journals. The text is scratched directly onto the film, so that you hear your own voice as you read. The "framed" images accompanying the words are of women, water, animals and saints, which were chosen for their indirect but potent correspondence to the text.
"... her films (particularly the celebrated GENTLY DOWN THE STREAM) signalled an important change that was occurring within the evolution of experimental cinema ... ［I］t demonstrates her considerable technical talents and formal creativity." - Bruce Jenkins, Millennium Film Journal "The film portrays a dreamscape where society's conflicts step on stage in muted, mysterious forms." - Kathleen Hulser, In These Times
"What's so striking is her use of film to create a language which corresponds materially to the semi-conscious state between dreaming and waking." - Jo Comino, City Limits, London Exhibition: Osnabr�ck Media Arts Festival, 1983; Women's Film Festival, NY, 1983; Women's Film Festival, Montreal, 1985; Haifa Int'l Film Festival, Israel, 1985; Experimental Film Festival, Argentina, 1983.
1981, 16mm, b&w/si, 14m (18fps), $45
VHS Sale: $150
But No One
As in GENTLY DOWN THE STREAM, I began with a dream, but this time the words appear alone, on black, scratched in a more variegated style. They create images and rhythms independent of the filmed images, so that you "read to the beat." The filmed images of construction workers, prostitutes, firefighters and fish for sale are quite familiar, while the text describes a nightmare whose characters are all implicated in a terrible conflict. I couldn't decide who to "blame" for the dream, so the fat boy, the women, the babies and myself all became suspected and inspected through the making of the film.
"... it threatens like an unlit alley." - Barbara Kossey, LA Artweek
"Vernacular but tough-minded images are laced together with a sharply etched, poetic text which conveys high-powered metaphors and the pensive, paradoxical and gentler side of her thoughts and feelings." - Lindley Hanlon, Millennium Film Journal
1982, 16mm, b&w/si, 9m (18fps), $30
VHS Sale: Inquire
The Ties That Bind
An experimental documentary about my mother's life in Nazi Germany and her eventual marriage to an American soldier. In the voiceover, she recounts her experiences, while the images portray her current life in Chicago, the assembly of a model German house, contemporary peace marches, archival footage of Germany, sensationalist newspaper headlines, her first years in America, and much more, woven together to create a dialogue between past and present, mother and daughter.
"The best of the New Directors/New Films Festival. ... The film is an original: a moving and courageous tribute from a child to her mother's beleaguered memory." - David Edelstein, The Village Voice
"... the ties that bind are not only the supposed benevolences of motherhood, but also the repressive dictates of the Fatherland .... In effect the film is like a court transcript of a mother brought to trial (albeit kindly) by her own daughter ... ［I］t connects its effective literalism with a group of complex issues: the shifting attributes of memory, the repression of familial contempt and the economy of fascism." - Barbara Kruger, Artforum
Exhibition: New Directors/New Films, Museum of Modern Art, NY, 1985; Whitney Museum of American Art Retrospective, 1987; Women's Film Festivals in Montreal, Rome, and Holland, 1984-1986; Festival of NY Independent Films in Haifa, Tel Aviv and Jerusalem, 1986.
1984, 16mm, b&w/so, 55m, $145
VHS Sale: $245
Damned If You Don't
"... a real prize. Beautifully shot in black and white, it blends 'conventional' narrative technique with impressionistic camerawork, symbols, and voiceovers to create an intimate study of sexual expression and repression. ［It begins with footage from］ a stylist old potboiler about an isolated convent, whose tale of passions leashed and unleashed provides the leitmotif for a young lesbian who watches it and the lonely nun she pursues and seduces. As the two women's lives come closer to joining, voiceovers from the biography of a 16th century lesbian nun and the reminiscences of a woman's closeted romances at a Catholic school flesh out the theme. ... When the two women finally meet and make love, the woman's careful unwrapping of the nun's complicated prison of clothing is both foreplay and liberating metaphor. The film is as hypnotic as a dream." - Andrew Rasanen, Bay Windows
"... passionate and genuinely innovative ... a lyrical evocation of the mystery of memory and the development of sexual identity." - Amy Taubin, The Village Voice
"... as good humored as it is daring." - Scott Macdonald, Film Quarterly
Awards: Best Experimental Film, Athens Film Festival, 1989; Best Experimental Narrative Film, Atlanta Film and Video Festival, 1988.
Exhibition: Biennial Exhibition, Whitney Museum of American Art, 1989; film festivals in NY, Chicago, Los Angeles, SF, Toronto, Winnipeg, London, Creteil, Denmark.
1987, 16mm, b&w/so, 41m, $140
VHS Sale: $245
Sink or Swim
Through a series of twenty-six short stories, a teenage girl describes the childhood events that shaped her ideas about fatherhood, family relations, work and play. As the stories unfold, a dual portrait emerges: that of a father who cared more for his career than for his family, and of a daughter who was deeply affected by his behavior. Working in counterpoint to the forceful text are sensual black and white images that depict both the extraordinary and ordinary events of daily life. Together, they create a formally complex and emotionally intense film.
"SINK OR SWIM is the kind of non-commercial but accessible film that throws a new and startling light on familiar subject matter." - Michael Upchurch, Seattle Times
"［A］ personal chronicle about language, memory and Dad that strikes hard, and deep." - Manohla Dargis, The Village Voice
"Much of the richness of this autobiographical film, whose honest engagement with essential human dilemmas proves immensely moving, stems from its refusal to make simple choices or settle into unambiguous positions." - Fred Camper, Chicago Reader
Awards: Grand Prix, Melbourne Film Festival; Golden Gate Award, SF Int'l Film Festival; Best Experimental Film, USA Short Film and Video Festival.
1990, 16mm, b&w/so, 48m, $150
VHS Sale: $245
First Comes Love
FIRST COMES LOVE is somewhat like an extended musical number, with perfectly choreographed scenes of four traditional wedding ceremonies accompanied by a schizophrenic, but amusing, medley of popular love songs. The celebratory atmosphere is interrupted midway through to remind us that there are still a few countries in the world that refuse to legitimate homosexual unions. The song and dance then proceeds until the happy couples depart, leaving behind a dwindling crowd and a few altar boys, who carefully sweep up the rice that covers the pavement like snow.
The film doesn't attempt to defend or discredit the institution of marriage. Instead, it reveals many subtle emotions surrounding the event and raises questions about how the double standard regarding marriage affects both gay and straight couples.
Exhibition: Festival of Festivals, Toronto, 1991; MIX NYC: NY Lesbian and Gay Experimental Film/Video Festival, 1991.
1991, 16mm, b&w/so, 22m, $75
VHS Sale: $195
Rules of the Road
RULES OF THE ROAD takes a searching look at how our dreams of freedom, pleasure, security and love are often symbolized by one of our favorite objects: the automobile.
"... the light, almost whimsical tone of the film should not blind us to the part of it that is irreducibly personal. Station wagons are everywhere; everybody's got a sad love story. But only one filmmaker, to my knowledge, has Su Friedrich's eye .... With RULES OF THE ROAD, she creates a film like a perfect short story." - Stuart Klawans, The Nation
"Filmed with her trademark energy and intensity ... it boasts an uncommon amount of visual and narrative imagination." - David Sterrit
"Friedrich makes elegant road kill of her emotional fixation ... it's a funeral parade for a love that gets comically, and ironically, stuck in traffic." - Susan Gerhard, The San Francisco Bay Guardian
Exhibition: Premiere, New Directors/New Films, Museum of Modern Art, NY; Melbourne, Sydney, Wellington, Toronto, Vancouver, NY, Philadelphia and SF film festivals.
1993, 16mm, color/so, 31m, $195
VHS Sale: $275
Hide and Seek
Hide and Seek is a daring exploration into wild, uncharted territory--lesbian adolescence in the 1960's. Lou is a 12 year old girl who daydreams in a tree house, tries not to watch a sex education film, wins a rock throwing contest, and is horrified to discover that her best friend is taking an interest in earrings and boys. Interwoven with Lou's story are the mostly hilarious, sometimes painful recollections of adult lesbians who try to figure out how they ever got from there to here. Completing the picture are clips from a wide array of old scientific and educational films which blend seamlessly with the beautiful black and white images of Lou's world. HIDE AND SEEK is for every woman who's been to a slumber party and every man who wonders what went on at one.
"Hide and Seek is rueful, funny, multifaceted and sharply intelligent." - Stuart Klawans, The Nation
"Hide and Seek is A Girl's Own Story for lesbians. Friedrich has woven a rich and provocative tapestry that assaults complacent assumptions about pubescent desire and lesbian identity, all the while raising important questions about the representation of racial and sexual fantasy life. ［The film is］ thoroughly engaging from beginning to end." - Yvonne Rainer
Produced with funding from ITVS, the NEA, and the New York State Council on the Arts.
Awards: Outstanding Documentary Feature, OutFest Gay and Lesbian Film Festival '97; Best Narrative Film, Athens International Film and Video Festival; Special Jury Award, The New York Gay and Lesbian Film Festival; Juror’s Choice, Charlotte Film Festival; Honorable Mention, Image Film and Video Festival
Exhibition: Sundance Film Festival; Berlin International Film Festival; Frameline Film Festival, Women In the Director's Chair; Inside Out Festival, Toronto; Umea Film Festival, Sweden; Melbourne Film Festival, Australia; Seoul Queer Film and Video Festival, Korea; MIX Festival, Brazil; ; Tokyo International Lesbian & Gay Film Festival, Japan; SXSW Film Festival, Texas; Dublin Gay & Lesbian Film Festival, Ireland
1996,16mm, b&w/so, 65m, $150
The Odds of Recovery
Faced with her sixth surgery and an ongoing hormone imbalance, the filmmaker turns the camera on a difficult patient—herself—and analyses the chances for a happier, healthier life.
"...the deft interplay of voices, words and images creates a steady accretion of metaphors and insights that are sharp and multilayered. While Friedrich effectively critiques Western medicine and demonstrates exhilarating filmmaking skills, its true achievement is as self-portraiture, boldly revealing a woman in all her difficult, naked complexity." - Holly Willis, LA Weekly
"...engrossing, good-humored, and confidently assembled...Recovery captures the frustration, tedium and petty annoyances of a revolving-door relationship with medical practitioners." - Dennis Harvey, Variety
"What could have been a health-care screed becomes a middle-aged meditation on mortality. 'You frighten yourself with that fear of not being totally in control,' says her therapist. 'What would happen if you gave that up?' One answer is Odds itself, which settles down into its own engagingly crafted, smoothly mellow rhythm." - Ed Halter, The Village Voice
Awards: Femmedia Award—Best Documentary, Identities 2003 Film Festival, Austria
Exhibition: Madcat Women’s Film Festival; National Women's Studies Association Conference; Wisconsin Film Festival; Women In the Director’s Chair, Chicago; London Lesbian and Gay Film Festival; Athens Film Festival; The New Festival at BAM; American Society for Bioethics and Humanities Conference, Montreal
2002, 16mm, b&w/so, 65m, $150
Note: All videotape sales are for institutional use only.
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