Film Categories: Time + Space

  • 24 Cards

    A tribute to film critic, writer, visual artist and filmmaker, Donald Richie who from the early 1980’s until 2013 was a friend and mentor. In his writing and curating, Donald Richie was instrumental in introducing Japanese Cinema to Western audiences. These yearly post cards, hand written or typed with unique personal images were one form of communication between the filmmaker and Mr. Richie. The film is SILENT.

  • The Blactor

    On route to a “gansta” audition, a young Black actress must prove to a cop that she’s not the role she’s auditioning for.

  • Meditation 4 Black Women

    Four women, with seemingly unrelated lives, meditate on identity setting off a mystical event that allows them to breathe again.

  • One Day

    “One Day” is an experimental film that delves into the depth of a single photograph. Captured by the artist during her initial exploration of film photography in Toronto, this snapshot becomes the centerpiece of an experimental piece. The passage of six years before its development mirrors the artist’s personal journey- a journey that leads her to choose Toronto as her permanent abode after traversing Iran, Montreal, and Europe. Relocating with her family in 2009, the city’s embrace as a second home poses a poignant challenge. The haunting presence of immigrant status looms large, leaving an indelible mark on the artist’s…

  • From Neurons to Nirvana: The Great Medicines

    Featuring interviews with the world’s foremost researchers, writers, and pioneers in psychedelic psychotherapy — these soul healers and scientific investigators are using everything from ancient decoctions to LSD and MDMA/Ecstasy as essential medicines, proposing that they be made available for research and therapeutic use.

  • WE DON’T TALK LIKE WE USED TO

    “Shot between Hong Kong, Japan, and the US, this short is Joshua Gen Solondz’s most ambitious work to date, a portrait of the home and the world that is dense, textured, creepy, anxious, noisy, silly, and confounding, but always tender.”-TIFF “We Don’t Talk Like We Used To” continues Joshua Gen Solondz’s loose series of addled diary films with a film that is part travelogue, part affective almanac, and part cinematic noise show. With stops in Hong Kong, New Hampshire, Japan, and Brooklyn, the film alloys obscured faces, oozing on-screen text, throbbing abstractions, solarized superimpositions, and the occasional dad joke into…

  • Currents / Perpendicolare Avanti

    Currents / Perpendicolare Avanti is a camera-less, hand-made, 16mm film collage, based on the artist’s autobiographical experience as an immigrant. In three movements, the film explores the dynamics of inhabiting the in-between space of moving between multiple countries and their temporalities, through visual and sound abstraction, interlacing and recycling pre-existing film materials and, using fragments from anonymous orphan films. Utilizing these so-called scraps, Currents is a film of extensive remediation, treated by hand through the use of the emulsion lifting technique, thereby re-imagining, re-constructing, and de-constructing the liminality of immigrant life. The re-writing of the self in Currents is produced…

  • Skyscraper Film

    Can I use the film strip structure as an architectural element? Is it possible to use the celluloid from the film as a cement? Can these skyscrapers be turned into something else? Can solid lines blend into sensual, natural curves? Can I melt skyscrapers? Skyscraper Film was created to try to give a visual answer to these questions, arising from the artist’s relation to urban maps of various locations and their respective skylines, populated by imposing skyscrapers and reinforced concrete panoramas: Quebec, Kingston (Canada), Maryland, Pittsburgh, Baltimore (USA) etc. Cities are presented to us as an abstract handmade camera-less collage,…

  • Self-Portrait in Hell

    Self-Portrait in Hell is a hybrid film that combines analog and digital film manipulation techniques. Multiple layers of 8mm films and disparate fragments are amalgamated to create a self-portrait of the director. A singular self-portrait, since ironically the subject of the film is not the director but the image found in abandoned film archives, the image of another, unknown woman. The first layer is from a 1970s 8mm home movie titled Woman Dancing with Dog and was found in an antique shop. The second layer is an 8mm film belonging to an unknown archive, which the artist buried for a…

  • Touch Chinatown

    Impressions of San Francisco’s Chinatown come to life through clear tape and historical imagery.