Film Format: 16mm

  • the framing of perception

    “I saw the light…” Sun, light, darkness, shadow — from time immemorial all weighted with significance and wonder. What mastery over nature, over others, to grasp the sun, control light itself! Know its speed, its heat, its colour, its radiation, its nature – is this not the power of the gods? Cinema is messaging with light and shadow. Figure and ground. Light, onto which we project significance, now transports our information. Perception shaped by our experiences, our interpretations, our projections, our illusions. Frames of drama and comedy, journalism and documentary, propaganda and advertising, all combined daily and edited, reproduced for…

  • Letters From Vancouver

    Letters from Vancouver (1973) comprise two films, made at the same time, that share a common interest in “the medium is the message” (McLuhan), and form a reflexive, self-referential enquiry into the film medium itself. Together, “the politics of perception” (33min)and “the framing of perception” (33min) form a meditation on our audio/visual creation, bearer of information and culture, meaning and representation. It is a medium with extraordinary powers, able to evoke the deepest feelings of love and loss, anger and fear, laughter and thoughtfulness, yet of great fragility, fading with time, precarious on a perforated strip of celluloid.

  • What’s Ours and What We Are

    In “What’s Ours and What We Are,” images, motifs and words that originally served a particular political agenda are playfully manipulated to distort and re-contextualize their original status, satirically articulating the purpose of propaganda which is to ‘speak to’ and ultimately to persuade a spectator.

  • Futuro, un film griego-argentino

    What comes from the high seas to the shores of the Atlantic, Pacific or Mediterranean could be plastic, radioactivity… or remains. One night, a woman became stranded in the Mediterranean. The statement she made can not be translated.

  • Contents

    An old wallet, abandoned intact, kept for unknown reasons. Uncorroborated memories of a close (but distant) relation. How are these documents speaking to each other? What is the nature of their harmony? Official versus living memory: each useless, unstable, disintegrating. Is memory the bureaucracy of the self? How does it order our lives?

  • The Shouting Flower

    A work about collaboration and process, “The Shouting Flower” approaches political resistance from multiple subject positions–plant, child, filmmaker–in an attempt to model what Anna Lowenhaupt Tsing calls “work across difference.” Using images processed in plant material that was gathered at key locations throughout the city, as well as direct animation and audio recorded on a child’s toy, the film documents its own creation within a landscape of hostility and neglect. A collaboration against cooperation, it becomes as it refuses. Refusing, dispersing, it shouts, “No!”

  • Livestock

    “Livestock” is a documentary study of one stage in the production of motion picture film. Most of the animals at the Warren Livestock Auction will be sold for industrial meat production. Their bodies will be slaughtered and processed, their bones prepared for rendering into gelatin that might one day suspend silver halide on a strip of acetate.

  • Activate NDN Consciousness

    Activate NDN Consciousness combines found footage of harmful Indigenous portrayals with contemporary NDN protest and revolt.

  • Notes from the Anthropocene

    Filmed in vibrant super 16mm color, and black and white film, Notes from the Anthropocene, is a sensory elegy to the dinosaur. The dinosaur icon shifts from narratives of extinction, to human exceptionalism, and power. Its materiality whether fossil or plastic toy has, through popular culture, become entrenched in the imaginary of oil extraction and fossil fuel production. Notes from the Anthropocene is a speculative iconological look at the dinosaur, delivered by an imagined museum guide who ponders our symbolic relationship to an increasing ambivalence towards the natural world. The mythic dinosaurs that emerge resist domestication and seek to transcend…

  • Antediluvian

    “I wanted to make a shamelessly pretty movie. A sexy, jazzy, sleazy little piece. I built up various tableaux using satin, silk and lace. I scattered glass baubles, costume pearls, sequins, glitter; and when it started to torch I brought in the pagan elements-select cards from the Tarot de Paris, the Aquarian Tarot, the Rider Tarot and Crowley’s Thoth. I threw down the Lovers, I threw down the Thrice Pierced Heart and the Tower, The Fall from Grace. Then I brought in the boy and took his clothes off and read Barthes’ ‘Le corps de l’autre (The Body of the…