Film Format: 16mm

  • Oh Dad II

    In this continuation of “Oh Dad!,” a young boy expresses his deep concern about environmental issues in his diary. Arguing with his father, the boy tries to convince him that although he is younger, he has serious opinions. He talks about national security, militarization, and acid rain. The boy grapples with what he sees as the collective responsibility of the adult world as a whole, and the responsibility of his own father, a scientist, for the damaged environment and the resulting disease, hunger and pollution. Despite the seriousness of the issues addressed, “Oh Dad II” is as warmly humorous as…

  • On Her Baldness

    “On Her Baldness” is a documentary about women who have lost their hair due to illness or who have shaved their heads by choice. Focusing on women whose baldness has forced them to confront issues of appearance, self-image and sexuality, this film challenges viewers to question and confront their own prejudices regarding the true nature of beauty and femininity.

  • On Land Over Water (Six Stories)

    “In cinema one extracts the thought from the image; in literature the image from the thought” (Levinson). This reflection was the catalyst for the photographic and narrative strategies of “On Land Over Water.” “On Land Over Water…” was born out of an image-notion of a skid mark on a highway, photographed in close-up, revealing texture and form. The image would be positioned with a voice-over narration, telling the story of a young boy witnessing a fatal auto accident and its ensuing aftermath. Over the following winter months I meditated on the cinematic potentials of that notion, “On Land Over Water…”…

  • On Land Over Water – At Her Cottage

    “In cinema one extracts the thought from the image; in literature the image from the thought” (Levinson). This reflection was the catalyst for the photographic and narrative strategies of “On Land Over Water.” “On Land Over Water…” was born out of an image-notion of a skid mark on a highway, photographed in close-up, revealing texture and form. The image would be positioned with a voice-over narration, telling the story of a young boy witnessing a fatal auto accident and its ensuing aftermath. Over the following winter months I meditated on the cinematic potentials of that notion, “On Land Over Water…”…

  • On the Marriage Broker Joke

    “‘On the Marriage Broker Joke’… turns upon an opposition of Freudian analysis and Christian hermeneutics… Two pandas, who exist only because of a textual error, run a shell game for the viewer in an environment with false perspectives. They posit the existence of various films and characters, one of which is interpreted by an academic as containing religious symbolism. Sigmund Freud’s own explanation is given by a sleeper awakened by an alarm clock.” – P. Adams Sitney

  • On the Pond

    Essential to the making of the film was an examination of still photographs. Stills were used as clues to the past. Clues that would bring order and meaning to significant memories. (PH) “Hoffman’s film is in the experimental film tradition of the personal diary, although in this case a beautifully paced mixture of family photographs and dramatic reconstruction interwoven into a narrative creates an objective distance. ‘On the Pond’ reveals skills of editing, sound and story telling which evoke in ten minutes a complex and emotional study of a family, its past and present, its young dreams and its affections.…

  • One Second in Montreal

    “In Snow’s… ‘One Second in Montreal’ and ‘Dripping Water’ (made with Joyce Wieland) we are brought to consider the force of time stripped of spatial interest. A collection of snow scenes, all still photographs of potential sites for a monument in Montreal (thus distinctly not ‘artistic’ photographs) follow one another for 22 minutes. The film is aggressive, yet haunting. It is too at the edge, at the point where an image of an actuality provides a firmer ground for meditation than an abstract image or no image at all. “This particular film provides the subtlety of Snow’s genius, in his…

  • One Side, Left Corner

    “The one I liked best was ‘One Side, Left Corner’, which could be described equally well as a drama, documentary, or experimental film. If it can be said to have a plot it’s about a couple who drive out to a cottage in the country, then back to the city – but that really doesn’t matter. It’s about people failing to communicate! What counts is the experiments in filmmaking that were an integral part of what the film was saying. I liked Neal Livingston’s innovations. They worked. Experimental success.” – Catriona Talbot, The 4th Estate, Halifax, Nova Scotia

  • One Way Boogie Woogie

    “…sixty one-minute shots with no camera movement. This tension between painterly and cinematic space is not only experienced as an intellectual contrast but is also felt as a dialectic between permanence and impermanence…” – Noel Carroll, Soho Weekly News

  • One Woman Waiting

    “One Woman Waiting” evokes questions of subjectivity in the mirrored performance of two women. The single take, tableau composition forms the structure for catalytic change between the characters. The sensuous desert environment accentuates the poetic and ephemeral quality of this film. “Massarella uses the fixed camera shot in her enigmatic film of a symbolic encounter between two women in a beautifully shot desert location. Its cryptic form is a good example of how an idea can be treated most effectively by simple means, for instance in the use of the frame as a point of entry and exit for characters…