Film Format: 16mm

  • La Grande Dame (étude)

    A graphic and vertiginous portrait of la Place Ville Marie in Montreal, Canada. Originally shot on Super 8 and edited in-camera, blown up to 16mm for exhibition. Selected screenings: Media City Film Festival, 2012 (Windsor, ON); Images Festival, 2012 (Toronto, ON)

  • Eclipsed: Still Life #4

    “Eclipsed” is a structured journey through the territory of audio and visual overtones. Colour flows creep up the screen, and are replaced instantaneously by other flows and flares of colour. On the sound track we hear a prepared piano piece, which draws the ear into the intense and elongated space of dense and powerful, yet subtle and ethereal, overtones. “One perception must immediately and directly lead to a further perception” (Charles Olson).

  • Edge of Extinction

    “Gone the way of the whooping crane.” Once a symbol of certain extinction, today a sign of hope. The whooping crane is here depicted in a combination of rotoscope images, slides, photographs, line drawings, and multiple exposures.

  • where she stood in the first place.

    Situated at the geographic centre of Canada, Baker Lake, Nunavut is the only inland settlement in the Canadian Arctic. Fixing its gaze on this stark landscape, McIntyre’s haunting and sparse film uses hand-wrought black-and-white 16mm film in a meditation on place and personal histories.

  • Memory Worked By Mirrors

    A mirror in the filmmaker’s backyard reflects his childhood home. The black frame of the watermarked mirror becomes a mysterious portal, distorting brick, branch, and flesh into an amorphous hodgepodge. A self-portrait.

  • Christ Church – Saint James

    In the spring of 1998, Christ Church – Saint James, a historic black church in Toronto’s Little Italy, was destroyed by arson. All that remained were walls and a pit, and over subsequent years, the site was overtaken with graffiti. This film has taken on the layered form of the site itself: the space and its surfaces becoming tangled and multiple, the grid of a stone-filled window giving geometric form to simultaneously occurring images of concrete, nature, waste, paint, and sky. Music by John Butcher.

  • Manor Road

    Trains travel to and from a fixed point in space beneath a variable coloured horizon.

  • Forsaken

    In “Forsaken”, Phillips again abstracts images selected from found footage, this time exploring such techniques as contact printing and hand tinting and toning. Muscle men, machinery, and building climbers become foreboding figures in this darkly apocalyptic film.

  • Graphic

    Handpainted, optically printed film. Guitar pedal loops.

  • Egyptian Series

    A series of meditations of Egyptian hieroglyphs – designations (as I finally saw them) of nurturing godheads. (SB)