Film Categories: Landscape

  • 86 SE Marine

    A chunk of Vancouver Real Estate as it sits, stuck in the no-zone. —– In 2016, Iris Film Collective presented the first Vancouver Edition of One Take Super 8. 26 artists (IFC members and invited artists) were given one role of either Black and White Kodak Tri-X 200D or Colour Reversal Agfa 200D cartridges. All editing was done “in camera” as it was shot, and the film presented just as it was filmed. No peeking before the night of the screening, it’s straight from the Lab to the Screen. Artists chose to play their film silent or provide sound for…

  • The Initiation Well

    The Quinta da Regaleira in Sintra, Portugal is a huge estate that has two wells for performing initiation ceremonies built into the ground. This film takes us into one of them. Sound design by Samuel La France.

  • VIA KARELIA

    Tracing back a lost identity, hidden in the forests of an abandoned war zone. How does a trauma get carried on from a generation to another and is there a way to stop the cycle? The filmmaker tries to understand how to heal from the pressures of the past by searching for their grandmother’s childhood home. Taking the journey with their parents, they find themselves in a village located in the old Karelia, now a part of Russia.

  • Eidolon

    The seer passes beneath branches, crosses fields, observes the quiet corners of creation. Bright and dark take turns showing their faces, a two-sided phantasm, one energy shape-shifting through time. The seer makes note, gleans eidolons.

  • Qualcosa di Rosso, Qualcosa di Blu

    Qualcosa di Rosso, Qualcosa di Blu combines layers of 16mm and 35mm found footage films to create a lyrical journey that accompanies the viewer into the depths of a dream of another life.

  • Green and Red, But Terracotta Red

    We are looking through the mirror of time, into distorted memories, while several narrators tell us about the most vivid colours in their dreams. The film consists of a collage of 16mm found footage that I further processed and decayed using a gentle combination of bleaching techniques. This process allowed me to partially lift the emulsion from the film base and re-shift it and re-position it by hand. Faces are warped, homes collapse, memories fade and blur.

  • Toad, Leaf, Grass, Rock

    A 16mm hybrid visual poem, at the crossroad between intertextuality and documentary. This film “plays” with images in an enigmatic way. Weaving, in the words of Eugenio Montale, a disappearing and deserted suburban landscape into the fabric of images, sounds, and textures of two far away lovers yearning for each other.

  • Autoritratto

    A short piece commissioned by Antimatter Media Art, a “portrait of the artist by the artist”, first exhibited as part of Automat compilation. It consists of recycled 8mm footage of Canadian landscapes, mixed materials, ink and film cement. As an immigrant, looking for, and collecting, past images of Canada is a way of imagining a past that I don’t have in this country. The re-writing of the self is produced through the archive of others via associative montage.

  • Fevered

    ‘Fevered’ is a meditation on the heated drama enacted by lakes and rivers as winter unravels. Piecing together 16mm footage and sound recordings, Peters re-imagines the pulsing of waterways as a metaphorical rhizome swelling outward in a feverish response to global warming.

  • Dam’d

    Using 16mm film altered in part by algae and zebra mussels, ‘Dam’d’ illuminates parallel behaviours between human and invasive species and their impact on waterways. The mutation of film footage acts as a metaphor for the erosion and evolution of the aquatic ecosystems it records.