Film Categories: Film Farm

  • Licked

    A go-go-get-it girl looks for love in the fine features of many a plate, only to end up falling face first into her one true dish.

  • Traces

    Stunning hand-tinted imagery intermingles with a love letter to the artist’s departed dog Mica. Bittersweet as any country song, so familiar you swear you’ve heard it before – but it’s just your heart breaking, worn and sure.

  • Still Here

    Made for the filmmaker’s uncle, a painter and a gay man who died violently in 2001, this silent, hand-processed film marks an enduring presence with bold brush strokes. When the body is absent the shadows remain. “Still Here” consists of a series of spontaneous, single-take performances that have been edited in-camera. It is at once a eulogy and an act of defiance against the crime that ended Davis Buller’s life.

  • Sans Titre

    Optically printed, hand-processed and painted, this film records the space of light. It attempts to remove the Form of abstraction from Matter and thus place the viewer in a virtual temporo-space. The last minute of the film is comprised of clear leader. After this, the projector remains running with no film passing through its gate for 30-60 seconds. This flickering white light completes the film’s projection. Note: Running time ranges from 6 to 8 minutes; the exact running time will depend on how long the projector is left running at the end.

  • Shape of the Gaze, The

    A hand-processed and optically printed film. I manipulate the film process to disrupt viewing expectations on a textual and aesthetic level. This re-positions the subject and discourse of gender ambiguity available in the gaze. Specifically, I attempt to interrupt and re-shape the triadic gaze operating between the subject, viewer and filmic apparatus. By shifting the discourse of the gaze, the film implicates viewers in the gazes between the lesbian filmmaker and her self-identified butch subjects. “Post riot-grrl ethos informed a number of the best works… [including] Maïa Cybelle Carpenter’s hand-processed vision of lesbians and machines, ‘The Shape of the Gaze.’”…

  • Site Visit

    Entirely hand-processed and hand-painted, “Site Visit” visually evokes a series of fantasy maps and the imaginary “sites” visited by following the paths laid out. Metaphorically the process of the film depicts the impossibility of concretely mapping disease in the human body, especially the emotional consequences. The degradation of the emulsion through bleaching is parallel to the slow degradation that occurs in the body stricken with cancer.

  • Towards Everyday Lightning

    Contrast itself can be seen as a thematic symbol in this work that plays on enlightenment as an elusive but ever-present possibility. It employs Zoroastrian semiotics and Zen-like circumstances to punctuate the appearances and flows of quotidian labour that have challenged the human condition since Sisyphus.

  • About Flight: The Surly Bonds of Earth

    In this collage of simple images from everyday life, such as feet and butterflies, birds and flowers, the pedestrian nature of human origins is found at play amongst images of a compromised nature. From vignettes of machine-fed birds that mirror a fascination with wings, this film reflects on some of the darker fruits of man’s desire for the capacity for flight. Using both colour and B&W stock, “About Flight” is mainly processed by hand and modulated with colour tints, toning and both in-camera and darkroom effects.

  • sisyphus

    ‘Sisyphus’ is a silent 16mm film shot on a Bolex exploring a journey that never ends. I made this film at renowned experimental filmmaker Phil Hoffman’s Film Farm workshop in Mount Forest, Ontario. Originally, I wanted to create a simple statement about overcoming depression. The ultra short narrative in ‘Sisyphus’ uses heartbreak as a metaphor for depression, since depression is just that – being heartbroken about life. The creative process and the practice of handmaking films speaks to treating life as a work in progress, thereby positively embracing the permanence of Sisyphus in my life. The lush, organic imagery in…

  • Tell Me What You Saw

    “After the success of his feature film ‘Masala,’ Srinivas Krishna returns to personal filmmaking with ‘Tell Me What You Saw’, a lush meditation on bucolic pleasures and a formally precise and emotionally engaging study of the properties of light.” – Toronto International Film Festival , 1994