Film Format: Super 8

  • Forsaken

    In “Forsaken”, Phillips again abstracts images selected from found footage, this time exploring such techniques as contact printing and hand tinting and toning. Muscle men, machinery, and building climbers become foreboding figures in this darkly apocalyptic film.

  • Outsourcing

    I made a microphone. I asked for a friend’s help to shoot. I asked for a friend to provide a condom. I asked for a film lab that would process the film for me. (the lab tends to ruin my films) I wrap the microphone in the condom, tell my friend to start shooting, and try to swallow what I’ve made.

  • CHRISTEENE “Bustin’ Brown”

    In “Bustin’ Brown,” the fourth installment of the CHRISTEENE Video Collection, CHRISTEENE confronts the ever-present bastardization of anal sex from mainstream bourgeois heterosexuals by returning “da buh-hole” to its rightful owners.

  • Maverick

    “Maverick” is a meta-film. Part lucid dream, part manifesto and part autobiography; the film is an affirmation of the power of film flicker. Embracing the potential of an indeterminate process this Super 8 film has been entirely hand-processed, experimenting with alternative chemical process to achieve unique and unpredictable images. The films visual dialogue implies that these are not “special effects” but rather the mediums main mode of expression. Less about interpreting images and more about capturing them, Maverick traverses time in the medium of light to construct a particularly analog view of the world mediated by the mechanical eye.

  • Fresnel

    “Fresnel” is a short super-8 film that explores the optical effects created by the massive inverted fresnel lens at the centre of the Reichstag dome. The Reichstag’s fresnel lens works exactly like a typical light-house fresnel lens – but in reverse, magnifying and projecting the sun’s light down into the Bundestag chambers (the national parliament of German). Fresnel lenses reduce the amount of material required to project light compared to a conventional plano-convex lens of equivalent power, by dividing the lens into concentric prisms, which magnify the light. Following the ramp upwards, the camera’s lens captures splintered reflections of people…

  • Just Passing Through

    Told through the perspective of a landscape, “Just Passing Through” tells the story of evolution as one image gives rise to the next. The film explores the relationship between permanence and impermanence where familiar subjects are fleeting and we are left to contemplate unfamiliar landscapes.

  • Buffalo Death Mask

    A conversation with Canadian painter Stephen Andrews returns us to a pre-cocktail moment, when being HIV+ afforded us the consolation of certainty.

  • Howard

    “Howard” is a documentary about the filmmaker’s estranged Uncle Howard who was murdered in Yonkers in 1995. The film uncovers his complex and conflicted life as a gay man troubled with piety and self worth, which drove him to success, yet, ultimately led to self-destructive behavior and death. The story is intertwined with the filmmaker’s musings about the life/death of the Uncle she did not know in an attempt to comprehend what it means to have an estranged relative murdered.

  • Par vos yeux (through your eyes)

    tu touches ce qui t’entoure dans un lieu partagé avec la camera; à travers ce que tu touches, à travers une chambre, un escalier, un autre corps, comme ca tu commences à exister, à vivre, à désirer – à travers cette mort de toi-meme et cette naissance d’une troisième, cette naissance de l’invisible. you touch what surrounds you in a space shared with the camera; through what you touch, across a room, a staircase, another body – you begin to exist, to desire – through this death of yourself and this beginning of a third, this beginning of the invisible.

  • Queen’s Quay

    Red, green, blue, and yellow grids track the horizon, left and right. The colours mix.