THE WHITE WOLF
Credits
2-Channel Video Installation
starring
Yuka Honda
Cara McManus
Kazu Kumagai
Blakeley White-McGuire
Featuring:
Fred Leeds
Gin Minsky
Tas Tobey
with appearances by
Paulo Paguntalan, Daniel S. Palmer, Kimia Zakerin Thomas Tomczak, Khary Simon, Elizabeth Renstrom Robert Hickerson, Madeline Harsh , Jesse Lee
monologues by
by Nathaniel Axel
original music written/ performed for the film by
Andy Comer: Film Score; Piano Guitar and Vocal Copyright 2018 Grin Without a Cat Publishing (ASCAP)
Yuka C. Honda: ‘the Caller’
Paulo Henri Paguntalan: Gutteral Vocals
team:
Camera: Jim Turner
Camera / Lighting: Kasper Hunt
Lighting: ‘Was Berkley,
Lighting Assistant: Maria Cabra, Thomas Tomczak
Line Producer / Sound Person: Nechama Winston
SPFX / PA: Haley Matis-Uzzo
Stylist / Wardrobe: Benjamin Sturgill
Set Building: Jongho Lee, Elexa Jefferson, Kara Kendall
Transportation: Elexa Jefferson
Location Coordinators: Molly Feingold, Kele McComsey, Alex Santana
with support from:
The John Solomon Guggenheim Foundation
Mana Contemporary
New York University
additional support provided by:
Hernan Bas • Kristin Rey • Bastian Hopfgarten • Tara Hirshberg • Tarek Alghusein • William J Simmons • Amy Egan • Miriam Stein • Stephanie Harves and Olivier Pauluis • Ravi Thakur and Catherine Bealin • Ed and Patricia O'Donnell • Robbie and Georgia Seamens • Chris James • Michael Clifton • Joey Vega • Khary Simon • Heidi Schlatter • Ali Prosch • Dan Palmer • Genevieve Kuzak • Veronica Levitt • Mimi de Beer • Viki Clark • Tom Weinrich • Sunu Att Mucka Dinakara • Shivesh Thakur• Christa Joo Hyun D'Angelo• Damien Davis• Julien Langendorff • Sanjay Thakur• Soraya Haas• Nicolette Serfozo• Aurica and Itamar Kastner• Jana de Beer• Kirk Larson• Nathalie Rock• Greg Schwartz• Jack Baur• Jim Batt• Barry Hatchel• Rudy Thauberger• Ryan J. Smith• Matteo Gilebbi• Brandon Stosuy• Christopher Norris• Jess Irwin• Sunita Thakur• Laura Hyatt• Henry Oliver Samuel Baldry• Candace Hudert• Daniel Stillwaggon• Robert Hickerson• Marielle Davis• Carl Mays
Filmed at Mana Contemporary, Jersey City, 2017-2018
2018
Runtime: 23:20 Minutes
Johanna Fateman: ‘Goings On About Town, Art, Sue de Beer’, The New Yorker, July 30, 2018
No one does high-concept, low-budget horror as exquisitely as de Beer. Her new two-channel film, “The White Wolf,” is a plot-defying twenty-three minutes of werewolf innuendo, set on a fictional New England island where a mysterious medical clinic attracts the terminally ill. As the artist plumbs the folkloric, psychological, and spiritual significance of lycanthropic transformation, she metabolizes her B-movie references in makeshift sets as captivating as a view into a cracked Fabergé egg. A lighthouse in the gloom, a shadowy bar where a striptease is performed against a forest backdrop, and an examination room bathed in green light form the visual backbone of the ambient narrative. The solemn ruminations of the clinic’s head doctor (played by the musician Yuka Honda) and a tense, melancholic score by Andy Comer propel it.