Film Format: 16mm

  • Like Mother, Like Daughter

    In 1992, Saskatchewan composer Elizabeth Raum was commissioned by the Regina Symphony Orchestra to write a concerto for her daughter, Erika, a brilliant young violinist. “Like Mother, Like Daughter” explores the working relationship between the composer and the performer, between mother and daughter. Excerpts from the premier performance of the completed concerto, “Faces of Women,” showcases the talents of these two extraordinary women.

  • Cat of the Worm’s Green Realm, The

    Flares of colour break into streams of light, leaves, wood grain and prism-etched vegetation. A moon lifts out of this dark weave to be replaced by autumn leaves against a grainy sky, a fiery sky. The moon, again, caught in clouds. The movements, moonlit, of a cat. Vegetation and toned flares (a kind of “ghost light” midst microscopic photography of leaves and twigs). A gray cat licks itself, its nametag reflected in lens refractions midst microscopic visions of ice and snow, autumn leaves, green leaves, a distant snow-laden green scene. A black cat sits quickly down on a green lawn.…

  • Pomegranate Tree

    “Pomegranate Tree” is an experimental film inspired by the lush and ceremonial paintings of the Qajar dynasty from Persia and Eli Langer’s violent, aggressive sketches. The film is a subtle study of sensuality. Originally shot on Super 8 and blown up to 16mm, the film was made for the Splice This! Super 8 Festival in the summer of ‘98.

  • Where Lies the Homo?

    “Where Lies the Homo?” is a film diary that explores the construction of gay identities through an analysis of media clips and coming-out tales. The narrative’s focus is on demystifying stereotypical representations of queerness in film while offering a pesonal view of growing up queer in a heterosexist culture. From Disney to underground gay cinema, from Hollywood divas to grainy home movies, this experimental collage juxtaposes and reinterprets many of our iconographic images of sexuality and family.

  • LIEBE, EIFERSUCHT UND RACHE | LOVE, JEALOUSY AND REVENGE

    “‘You know that every film has its own language…’ Brynntrup delves into the riddle of language, communication and desire through a cleverly amusing portrayal of a telephone call between a man and a woman.” – Karen Lund, Museum of Modern Art Department of Film, 1992 “The witty ‘Love, Jealousy and Revenge’ explores the mobile meanings of language in film with the help of sophisticated telecommunications; an aural/oral offering.” – Sarah Turner, Ian Rashid-Hygene and Hysteria Your Program, 1994 “Whether it be through a visual or verbal excerpt from his diaries, a cinematic album of (imagined?) former lovers, a matter-of-fact voiced-over…

  • Bon Vivant

    “Bon Vivant” is a fanciful cut-out animation about a magic circle that suddenly appears in the middle of a street in the city. To the great surprise of the dapper little man who discovers this circle, it has the power to make things appear and disappear. Told without words, this is a film that will engage the imagination of the viewer and can be used to open discussion of the need for magic in our lives.

  • Human Remains

    “Human Remains” illustrates the banality of evil by creating intimate portraits of five of this century’s most reviled dictators: Adolf Hitler, Benito Mussolini, Joseph Stalin, Francisco Franco, and Mao Tse Tung. We learn the private and mundane details of their everyday lives – their favourite foods, films, habits, and sexual preferences. Their personalities and psychological make-up are revealed through the details they convey. There is no mention of their public lives or of their place in history. The intentional omission of the horrors for which these men were responsible hovers over the film. “Human Remains” addresses this horror from a…

  • Slip

    A therapist and her client have the same dream. For both women, its is moment of celluloid synchronicity.

  • Women Are Not Little Men

    Contemporary and archival images are contrasted against the text of a 1950’s industrial safety and training manual, exposing and critiquing the widespread belief in the existence of a weaker sex.

  • Light in Our Lizard Bellies, The

    Through choreography and performance by Susanna Hood, and editing and effects in exposure caused by hand-processing, “The Light in Our Lizard Bellies” reflects the intensities that discombobulate us as we go through change and face parts of ourselves previously denied or unknown. “A beautiful capturing of the triumph of the human spirit.” – Barbara Goslawski (Toronto film critic) “I have never seen a dance film work so magically. It is cinematic instead of just choreographic. The hand processing is rich, pushing the film past time. The texture and contrast do that poetic thing of transporting you. Transcendent.” – James Herbert…