Film Format: 16mm

  • Before You Go

    A hybrid-documentary centred around a mother and daughter and their differing relationships with Iran.

  • 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.

  • Garlic Is as Good as Ten Mothers

    A zesty paean of praise to the greater glories of garlic. This lip-smacking foray into the history, consumption, cultivation, and culinary/curative powers of the stinking rose features chef Alice Waters of Chez Panisse and a flavourful musical soundtrack. The SF Chronicle called this paean to garlic “a joyous, nose-tweaking, ear-tingling, mouth-watering tribute to a Life Force.” Nothing less than a hymn to the stinking rose of the kitchen, this lovingly photographed documentary is an odyssey of garlic feasts alternated with uniquely individual interviews of garlic afficionados. Not only does the film promote garlic as our first line of defense against…

  • 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.

  • Shifting Baseline

    Motion picture film decomposes in a bath of toxic cyanobacteria collected from a shore where children are playing. A child’s piano improvisation plays over the bacterial impressions in memory of a fleeting moment. ‘Shifting Baseline’ combines ecological and filmic processes to capture and animate an environment that is rapidly slipping away.

  • Antigone

    In “Antigone” we re-visit the twisted shapes of the Master in his various get-ups: father, king, detective, god, stats, text, son…film director. Also featuring a familiar mother-lover combo. “…A blast of fresh air on the experimental scene, this cheeky, post-modern story about the story rips apart any pretensions we may hold about the avant-garde, the Canadian film industry, or narrative itself.” – Festival of Festivals “Antigone” rolls out black and white, silent-movie style, with a blast of horns and the mock-mournful strains of the violin. Slapstick sounds and Popovich’s narration prick the pretensions of those involved in retelling the [Oedipus…