Nothing Bad Will Ever Happen Again: The Films of Victoria Vincent
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Los Angeles Filmforum presents
Nothing Bad is Ever Going to Happen Again: The Films of Victoria Vincent
Sunday March 16, 2024, 7:00pm
At 2220 Arts + Archives, 2220 Beverly Blvd., Los Angeles CA 90057
NOTE THE EARLIER START TIME
Tickets:
https://link.dice.fm/F1874f249ba6
In person: Victoria Vincent and curator Sam Gurry. Q&A to follow the show.
A fever dream stitched together from hyperpop absurdism, DIY grit, and existential dread, Victoria Vincent’s films paint a world where the distant horizon line never gets any closer, and the only certainty is drinking alone at a curved bar. Dogs wear masks, but so does everyone else. Twins blur into one another, mirroring our fractured digital selves, caught between internet personas and the crushing weight of reality. Soundscapes swing between punchy sardonic humor and smooth, radio-friendly yacht rock, a disorienting mix of self-aware irony and sincerity. Jazz scores breakdown, Kafkaesque systems loom. Everything cycles, everything repeats. Rough-edged animation and MP4-era editing create an unsettling intimacy—like watching something on Live Leak right before the feed cuts. Yet, in the haze of self-harm, drug use, and agoraphobia, there’s a flicker of connection—friendship, however messy, however fleeting. And maybe, just maybe, hope.
Victoria Vincent, known online as Vewn, has been animating and posting for over a decade, drawing over 1.5 million subscribers into her ever-evolving distortions. Though digital, her work carries the earthy luster of the hand-drawn, with tablet-hewn crosshatches that feel like visible thumbprints on the screen. The edges aren’t just present—they’re highlighted, both visually and thematically. Her worlds are layered with blink-and-you’ll-miss-it background jokes, where every flyer, sign, and screengrab is weighted with intent. Anxiety pulses through every jittery, shifting line, her signature boils keeping characters in a state of perpetual unease—always trembling, always on the edge of implosion. Echoing the raw instability of Danny Antonucci, Brendon Small, and Pritt Pärn, her boiling lines keep every frame restless, as if the world itself is nervously exhaling, seconds from collapse.
Notes and Program by Sam Gurry.
Victoria Vincent, known online as Vewn, is an artist from Los Angeles, California. She has been making independent short films and sharing them online for the past 10 years. Her frantic and fast-paced art style seeks to visually capture our chaotic online culture and general feelings of doom. Despite the apocalyptic subject matter, she also hopes to make people laugh.
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Dirt Girls
Dirt Girls
(USA, 2021, digital, color/sound, 5:30)
Featuring a star studded voice cast, Dirt Girls is about two sisters on the verge of adolescence and absolution.
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Catscape
Catscape
(USA, 2019, digital, color/sound, 2:30)
Ruminating in an arrested development somewhere between 9/11 and Instagram, Catscape longs for a past that might have been the same all along. Two internet friends meet IRL for the first time—right after visiting church and summoning the devil. With masks off and vulnerability exposed, they fall asleep under the soft sonic glow of The Golden Girls, bleeding in from the house next door.
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Twins in Paradise
Twins in Paradise
(USA, 2020, digital, color/sound, 9:30)
Twin tennis prodigies Marcy & Darcy teeter on the edge of fame, self-destruction, and the ever-present call of the void. Their synchronized swings mask a growing dissonance—between expectation and identity, brilliance and burnout. The narrative crackles like static, a charged silence before the inevitable collapse, one match away from an inferno. As the court lights dim and the world around them blurs into nothing, what remains for the sisters beyond the game, beyond the applause—beyond each other?
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Nothing to Hide (Bad Kids Stuff)
Nothing to Hide (Bad Kids Stuff)
(USA, 2023, digital, color/sound, 5:30)
The second installment of the Bad Kids Stuff series finds our heroes swapping both identities and incarcerated statuses. Before delivering a death sentence, the judge—now a clone—declares, “You could never kill us in a way that matters.” Originally a Tumblr shitpost about anthropomorphized mushrooms, the quote is repurposed to highlight the futility of resisting an eldritch judicial system with infinite resources. Bureaucratic alienation, compounded by our doomscroll-induced detachment from self, has turned us all into NPCs. If death doesn’t free us from paperwork, does it even matter?
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Kittykat69
Kittykat69
(USA, 2017, digital, color/sound, 2:00)
Amongst the more hopeful pieces in Vincent’s oeuvre, Kittykat69 is an exploration of the existential duality between our online and offline selves. Imagine Fyodor Dostoevsky’s Golyadkin except with really good hair and, like, 30 million followers.
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Snooze Quest
Snooze Quest
(USA, 2025, digital, color/sound, 9:30)
The latest in Vincent’s cannon. PJ, our bunny suited protagonist, searches for meaning and medical care amidst a sniper prowling through her neighborhood. The bleed of perceived truth starts a trickle and ends a hemorrhage with BJ imploring her double, “No time for philosophy. We have to go back to the real world”.
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Find True Love
Find True Love
(USA, 2016, digital, color/sound, 1:00)
Bored? Horny? Filled with Rage? Find Hot Singles in your Area Now!
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Bobo the Monkey
Bobo the Monkey
(USA, 2021, digital, color/sound, 1:50)
Chekov’s ketchup bottle features in this one off about Bobo, a small monkey held in captivity, plotting his escape from the Zoo. Rendered in Vincent’s classic palette of deep rusts and dusky ochres, Bobo the Monkey is playful piece about freedom and murder and the space in between.
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How to make an animated video (tutorial)
How to make an animated video (tutorial)
(USA, 2024, digital, color/sound, 5:30)
Veils lifted! Secrets spilled! Truths unlocked!
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Fluffy’s Third Eye
Fluffy’s Third Eye
(USA, 2016, digital, color/sound, 1:30)
In contrast to Vincent’s typical colorful palette, this piece is more monochromatic making Fluffy’s third eye even more distinctive. Not all doors can be closed.
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Motivational video movie
Motivational video movie
(USA, 2018, digital, color/sound, 1:00)
Be the change you want to see in the world.
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Uncomfortable Encounter
Uncomfortable Encounter
(USA, 2024, digital, color/sound, 0:45)
Clippy but for social interactions.
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Dead End
Dead End
(USA, 2019, digital, color/sound, 3:30)
It’s the lost leading the lost trudging through the aching entropy of the working world. A guidance counselor stares past his student, projecting his own inertia. “Better luck next time” coos the Slot-O-Rama siren, a lullaby for the stalled out and the stuck in. This pattern has to break.
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Mask dog
Mask dog
(USA, 2018, digital, color/sound, 1:00)
A dog puts a mask on.
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Catopolis
Catopolis
(USA, 2022, digital, color/sound, 13:30)
“Am I going to die?” Penny asks a magic eight ball. “Absolutely” floats up the triangle. Reminiscent of Vladimir Tarasov’s 1981 agitprop film Shooting Range, Catopolis explores the resigned ennui of Penny, a cat who lives with her father. Penny’s job, KPI meets TKO, brings her a mix of physical pain and emotional shame. Her desensitization to violence, as mirrored by her father’s television viewing habits, comes full circle after her resignation. We end where we’ve started but, this time, perhaps happier.
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Birthday (Bad Kid Stuff)
Birthday (Bad Kid Stuff)
(USA, 2023, digital, color/sound, 5:30)
We built this world and, now, we must have our birthday in it. Sex, Drugs, Mass violence, aaaand maaaany moooore. One of several Bad Kid Stuff shorts starring Roxy and Jazz, moving through a world of sardonic resignation and hyper pop absurdism. Vincent’s handdrawn style, rife with jagged edges and withering lines, provides a rich contrast to the sleek bureaucratic rebuffs they can’t escape.
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Health
Health
(USA, 2024, digital, color/sound, 0:30)
A robust mix of kafkamaxxxing traditional animation, live action, and syncro-vox. Doctors hate this one trick.
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Stupid Dinner
Stupid Dinner
(USA, 2024, digital, color/sound, 2:30)
“Should I eat dinner or should I kill myself”. For an interloper, the seemingly simple task of salting food becomes something that requires refuge and reflection. In dimly lit rooms where the walls creep inward, questions of family, friendship, and identity drift like dust in the air—unanswered, unavoidable.
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Cat City
Cat City
(USA, 2017, digital, color/sound, 3:00)
A recurring theme in Vincent’s work is the idea of change and stasis. Characters are resistant to change, resolute, or in avid pursuit. No matter the choices made, the result seems to be the same, back when you started but, sometimes, happier. A raucous jazz soundtrack from frequent collaborators “Ask my Bull” provides the busy sonic landscape for the eponymous Cat’s journey into an urban center.
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Agoraphobia
Agoraphobia
(USA, 2017, digital, color/sound, 2:10)
The soft curves of the freeway close in like a vice. The whole city hums, scoring this brief odyssey to the dog park.
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Talkline
Talkline
(USA, 2016, digital, color/sound, 1:00)
Using audio culled from a specifically created hotline, the callers are brought to life in these imagined tableaus.