PXL THIS celebrates its 28th year of creative filmmaking by everyone from kids to professionals. One of the most unique film festivals ever, PXL THIS has been attended by Oliver Stone, Daryl Hannah, Kim Fowley among many more. Pixelvision has even made it onto the big screen via Richard Linklater (Slacker), Michael Almereyda (Nadja, produced by David Lynch) and Craig Baldwin (Sonic Outlaws). The irresistible irony of the PXL 2000 is that the camera's ease-of-use and affordability, which entirely democratizes movie-making, has inspired the creation of some of the most visionary, avant and luminous film of our time.
"If movies offer an escape from everyday life, Pixelvision is the Houdini of the film world." - SF Weekly
PXL THIS, featuring films made with the Fisher-Price PXL 2000 toy camcorder, is one of the longest running film festivals in the entertainment capital of the world. Celebrating "cinema povera" moving image art, it evokes Marcel Duchamp's axiom "Poor tools require better skills." Pixelators from across the globe hoick up inventive approaches to the unassuming throw-away of consumer culture. These low-tech hi-jinx films come through loud and clear by reframing a new cinema language. Past PXL THIS participants have included Lee Ranaldo (Sonic Youth), Chris Metzler (Fishbone & Salton Sea documentaries), James & Sadie Benning, Joe Gibbons, Cecilia Dougherty, Peggy Ahwesh, Jesse Drew, Margie Strosser, Cory McAbee (The Billy Nayer Show), Ann Randolph, Kirsten Stoltmann, and Michael Almereyda.
"Gerry Fialka's annual PXL THIS is a reliably surprising and seductive round-up of recent work achieved with the PXL 2000 camera. This humble outdated toy continues to bring out the visionary child in filmmakers and viewers alike, and no one has kept the PXL flame burning longer or brighter than Gerry." - Michael Almereyda, director
"Gerry Fialka's PXL THIS festival snaps, crackles and pops off the screen with the funky, user-friendly energy of real first-person cinema. Goofy, gorgeous, and altogether groovy, his provocative program of pieces produced with the Fisher-Price PXL 2000 toy video camera is not only downright entertaining, but more, its blipping and buzzing black 'n' white picture-bits coalesce into a veritable inspiration to all those who cherish the playful, spontaneous gestures and low-cost of electronic folk art." - Craig Baldwin, director & curator.
"All the PXL THIS videos reflect festival organizer Gerry Fialka's commitment to the freedom produced by making art without financial constraints. PXL THIS is a welcome highlight in the Los Angeles media scene celebrating the rich lexicon available in a tool which might initially seem rather limiting." - Holly Willis, LA Weekly.
"Pixelvision may be firmly ensconced in the pantheon of once-popular dead media, but for many of the faithful it captures the heart of the American experience as it should be seen: in basic black and white." - David Cotner, LA Weekly
"PXL is the ultimate people's video." - J. Hoberman, Premiere Magazine.
Seminal film experimental filmmaker Hollis Frampton evokes PXL THIS in 1978 : "I didn't really like the work I thought was my best work. I liked the stuff I didn't like a lot more." Rewording Jimmie Durham's overhearing evokes PXL THIS: "Are those real films or did you make them yourself?"
"When the aliens are here and deciding whether to vaporize all mankind for our inhumanity, cruelty and greed, showing the aliens PXL THIS will save the world. PXL THIS shows our best nature as humanist creators and subversives against those who deserve it. Save the world. Support PXL THIS." - George Manupelli, founder of the Ann Arbor Film Festival, filmmaker, poet, collagist and political/environmental activist
Pixelvision conjures Bucky Fuller's ephemeralization - the idea of minimal material with maximum performance. The PXL THIS Film Festival is similar to what Rachel Kushner wrote about Silvia Kolbowski's After Hiroshima Mon Amour: "The overall effect is well beyond an avoidance of comparison. It's refusal of the seductive surface of the Resnais film, as if to coax viewers out of the trance of filmic nostalgia and toward our own catastrophes and forgetting, our own longing to be faithful to a moment in the face of oblivion."
Seminal film critic Pauline Kael evoked Pixelvision in her book Hooked: "I am still a child before a moving image."
Hollywood Reporter called Pixelvision a "precursor of today's DV filmmaking."