A portrait of Thornton’s sister and a close friend. Shot while studying with cinema verite masters Ed Pincus & Richard Leacock, this early film transgressed documentary norms, shaping its portrait of two women with a formal, almost musical editing schema.

"Elusive and compelling, Have a Nice Day Alone is surpassingly strange, even for Leslie Thornton, an acknowledged genius of the unexpected. The entire spatial field of the film is activated by a technological nervous twitch, a bizarrely beautiful and hypnotic pulsing. The image shrinks, flows, collapses, seeming to follow some strange and hidden agenda. There is a text about speech on screen, visible through the pulse. In the background, extreme forms of vocalization, yodeling and macabre laughter punctuate the visual space. As the image flutters, a robotic voice speaks about various conditions of speech. Language is dislocated.It is unclear whether the voice mimics or generates the text." (Thomas Zummer)

In her eponymous film “Ground” (2020), Thornton outlines the coming into form of a reality in which the ground or base—like the ground of a painting or the physical ground that human existence has always been pulled toward by gravity—becomes undefined.

A formal 1861 portrait of a Chinese Mandarin and his wife is the starting point for this allegorical investigation of the fantasies spawned in the West about the East, particularly that which associates femininity with the mysterious Orient. ADYNATA presents a series of oppositions-male and female images, past and present sounds-which in and of themselves construct a minimal and fragmentary narrative, an open text of our imaginations, fears and fantasies.

2021. China/USA. Filmmaker Leslie Thornton. 1 min. Digital.

A short by Leslie Thornton from 2021.

A short film from Leslie Thornton from 2021.

Jennifer, Where Are You? is structured by a speech-act, a constant proleptic call, a man’s voice which has been edited and recut into a repetitive and pervasive presence. The insistence of this male voice, which repeats the phrase “Jennifer! Where are you?” every 30 seconds, parodies the authority conceded to voice-overs in the cinema. The voice is patriarchal, relentless, and runs the entire length of the film. Cut-aways to a small girl, glancing at the camera as she plays with lipstick and matches, reapportion the relation between patriarchal phonocentrism and masculine gaze. But is this small child subject to either? No. Not really. There she is, hiding in plain sight–ours, not ‘his’–a ‘purloined subject’ successfully evading subjugation through response or acquiescence. ‘Jennifer,’ whoever she might be (a cipher, a pseudonymous textual marker of gendered cinematic presence) is never apprehended, and the film, for all of its suspense, simply ends.

Different species of animals–on one side the original image and on the other, a kaleidoscopic version.

"Highly idiosyncratic and deeply creepy, this series as a whole – which includes passages in both film and video, sometimes shown concurrently – represents the most exciting recent work in the American avant-garde, a saga that raises questions about everything while making everything seem very strange." - Jonathan Rosenbaum