Film Format: DCP

  • Saint-Rémi

    Abandoned in the debris of a mine, a dancer is revived by the celestial energy pulsating within him. Filmed in Quebec’s former asbestos mine of Saint-Rémi-de-Tingwick, this short film features the artist’s ‘Tetrahedron’ iron sculpture in which he dances. Serving as both a prison and a pedestal, this sculpture symbolises humanity’s detrimental creations that both elevate and destroy. This duality is also echoed in the magnificent yet barren lunar landscape of the mine, which has remained sterile since its closure in 1968. Despite the desolation, ‘Saint-Rémi’ is an ode to revegetation, a hope that flora, like the dancer, will resurface…

  • Serene Hues

    Serene Hues, hand-processed, solarized, tinted, and toned, is a meditative journey into the tranquility and vibrant beauty of nature. The surprising and unexpected images created through process-driven filmmaking, which is improvisational and interactive, embody the wabi-sabi aesthetic of impermanence, incompleteness, and imperfection, emphasizing the creative process of producing the work.

  • Jaddoland

    A visit to my mother’s home art studio in Texas prompts a deeper exploration into the meaning of home across generations and landscapes.

  • Echolocation

    The rain in Oakland, my grandmother’s home in Baghdad, my aunts’ voices in What’s App, my daughter learning to count to 10, my brother playing the darbuka, the cicadas in Texas, the walls of my studio, the search for new forms.

  • a tangled web drowning in honey

    a tangled web drowning in honey is an experiential and textural short film that invites viewers into the inner workings of a mind to ponder the ways in which we love and unlove ourselves.

  • Water Fields

    Water Fields is a rhythmic audiovisual composition, taking place in California’s dry landscape.

  • The Courser

    We see white stone structures and hear the sound of horses at full gallop, snickering from afar. The sound volume increases rapidly and sets the large group of lithic sculptures in motion. Heavy traffic noises eventually mix with the animal sounds and just when they are about to take over the soundscape entirely, images and sounds introduce the actual location: Shanghai, at the intersection of Yan’an Elevated Road and Inner Ring Elevated Road, two major, multi-leveled, urban freeways. Amidst the massive architectural structures and immobile horses underneath it, we may remember Eadweard Muybridge and his early moving image studies.

  • back home

    back home follows filmmaker, Nisha Platzer’s pursuit to get to know her older brother, Josh, twenty years after he took his own life. As she connects with the friends who knew him best as a teen, a complex portrait emerges. Through intimate recollections re-imagined on Super8 and 16mm film, and lyrical images hand-processed with plants, seaweed, soil and ashes, ‘back home’ floats between memory and present time in a fragmented meditation on identity, grief and loss: illuminating the transformative power of healing in community.

  • Flamme dans l’eau

    A film exploring the poet Franck André Jamme’s journeys to Rajasthan and Nepal to seek out the origins of Tantric paintings used to awaken heightened states of consciousness. The film merges dream and legend in an exploration of these images that are made by anonymous painters, not to be bought and sold, but as tools of inner practice, as thresholds.

  • Buses don’t stop here anymore

    Buses don’t stop here anymore is a chronicle on Super 8 of the closure, abandonment, and demolition of the Greyhound bus station in Ottawa, Canada. Once an important site for coming and going, an emotive epicenter, the camera observes the building’s erasure, dismantled by machines that writhe in the dust of demolition. Optical printing translates the act of observation into a requiem for a building, once so present and vital, now a ghost of the past. Filmed on Ektachrome Super 8 over a three year period from the sudden closure of the Greyhound station in April 2020 to its demolition…