Film Format: 16mm

  • Commerce

    An obsessive review of an obsessive system, Commerce is a diary of the recent spate of tech industry layoffs and the psychic damage left in their wake. Through the use of artificial intelligence with analogue 16mm hand processing, Commerce submits to and explores the minds of leaders that exploit human labour, aroused by the technology poised to replace it. Leveraging generative AI, machine learning, and voice models of presidents and Fox News pundits, the film marries new technology with analogue, challenging the binary we often bring to consuming art. Through this intercourse, Commerce questions the ways we hand authority to…

  • guise

    “guise” is an adult fairy tale for the 90s. Arising from the earth, a body discovers its nakedness. A suit of armour becomes a metaphor for the trappings of identity. Pixilated to produce the effect of a human marionette, accompanied by a good-natured verse. “guise” is by turns dark and humorous.

  • NE Corridor

    Accumulated over three years, Joshua Gen Solondz’s film is a crowded collage of gurgling paint, jagged splices, errant sprocket holes, and puzzling images that conjure the densely material frames of the late queer avant-garde filmmaker Luther Price. A messy assemblage in purples and oranges, NE Corridor is at once a visceral explosion of color and a tortured object.-Leo Goldsmith

  • Light and Land

    Lingering somewhere between fantasy and realism, this futuristic documentary underscores atmospheric phenomenon within mysterious environmental incongruence.

  • Hall Noises

    Ed’s lonely existence in a run-down rooming house is shaken up when a family moves in down the hall. After circumstances out of his control leave him to take care of Missy, the young daughter, Ed soon finds out that his past childhood and Missy’s present family conditions have much in common.

  • As close as your voice can call

    A film about language, about the way trauma inflects grief, and about learning to speak with the dead. This work engages a personal archive of children’s books owned by my late mother, many of which feature her signature. I had encountered Deanna Bowen’s “sum of the parts: what can be named”  (2010), which attuned me to the lasting power of these traces, so I began to think of the signatures as a connection to my mother. I decided to use them to perform a kind of ad-hoc seance where I learned to copy her signature exactly. This forgery opened me…

  • Sand In Her Shoes

    A fantastical, lyrical exploration of a woman’s healing journey created through evocative visual images and sound incorporating elements of ritual and dream. Filmed in the Chihuahua Desert of New Mexico and in a constructed room with trees growing out from the walls. The details of texture, light and colour in the treatment of physical space and the creation of environments become metaphorical expressions of emotion.

  • Matin Dans Une Foret de Pins (Morning in the Pine Forest)

    The lives of six young people unfold in a journey through different worlds revealed and interwoven, where the boundaries between documentary and fiction, reality and dream cease to exist. The volatile and seductive landscape of urban and rural Latvia was treated as a rich context for the complex relationships one has with the world – inviting the viewer to come upon the questions that bind us in our common need to understand our humanness. This film is based on the lives of HELENA, EVA, JANKA, GUNTIS, ANNA and GALC.

  • Only the crow knows him / Seul le corbeau le connaît

    The misrepresentation of images through the story of an old man who lives in the street. One day he sees photographs of himself in an art gallery. He sees himself portrayed as an old homeless man. He has no history, no childhood, no mystery.

  • Apres Meg, D’

    “Grenier’s “D’Apres Meg”, departs from the routine of structuralist cinema. Through the repetition and fragmentation of physical gesture, wild sound and snatches of conversation, Grenier elicits narrative possibilities from otherwise disparate elements. Repetition is, after all a form of insistence. In “D’Apres Meg” small hand gestures are microscopically observed in their everyday context, a garden conversation, a construction site, a gallery setting. By taking our common peripheral vision of events seriously, Grenier produces an evocative enigma. From these images and bits of conversations, which are equally mundane, a new kind of disinterested seeing can be engaged. One that does not…