Film Format: Super 8

  • Ruines

    Sur l’autoroute 15, juste à l’extérieur de Montréal, se dresse un monument à la Révolution tranquille : les écrans en décomposition du Ciné Parc Laval, ouvert en 1971, l’année où les ciné-parcs ont marqué l’histoire du Québec. En 1947, sous la pression de l’Église catholique, les ciné-parcs sont interdits au Québec. C’était la tentative de l’Église de réglementer le sexe en dehors de la sphère domestique. À l’origine un drive-in à 2 salles de cinéma, le Ciné Parc Laval est rapidement devenu 4 écrans en raison de sa popularité. Ce film utilise des segments de Frissons (1975) de David Cronenberg…

  • Kitâb al-Isfâr: Book of the Journey

    An immersive cinematic poem of a seven year journey of return, Kitâb al-Isfâr: Book of the Journey weaves together stories of near-death and mystical experience in Andalucia. When I was 19 I set out, hoping I could learn the meaning of life by “experiencing everything.” I bought a car for 20 marks in a cafe in Ulm. I spray painted it yellow and green and drove it from Holland to Romania to Spain, sleeping in the back seat in a red blanket. Driving down to Malaga, at the crest of the mountains, the brakes went out. As the car sped…

  • disconnected

    Experimental rumination on depression. Inspired by Lost Connections by Johann Hari and Moving Through Depression by Laurel Swenson

  • 581 Bloor Street West

    A chunk of Toronto’s real estate, a historical landmark in fact, as it sits, in a state of sad transition.

  • 86 SE Marine

    A chunk of Vancouver Real Estate as it sits, stuck in the no-zone. —– In 2016, Iris Film Collective presented the first Vancouver Edition of One Take Super 8. 26 artists (IFC members and invited artists) were given one role of either Black and White Kodak Tri-X 200D or Colour Reversal Agfa 200D cartridges. All editing was done “in camera” as it was shot, and the film presented just as it was filmed. No peeking before the night of the screening, it’s straight from the Lab to the Screen. Artists chose to play their film silent or provide sound for…

  • Gadflies

    A reunion after twenty-five years.

  • Sound of a Shadow

    A wabi sabi summer in Japan – observing that which is imperfect, impermanent and incomplete– produces a series of visual haiku in search of teeming street life, bodies in motion, and leaf prints in the mud. Festivals: Athens Film Festival, Black Maria Film Festival Award Winner

  • Your Day is My Night

    This provocative hybrid documentary reveals the stories of a Chinatown “shift-bed” apartment through dreams, movement and song. A shift-bed is a domestic space shared by people who are neither in the same family nor in a relationship. Simply put, itʼs an economic necessity brought on by the challenges of urban existence.  In “Your Day is My Night” these beds transform into a stage, illuminating the collective history of Chinese immigration through conversations, autobiographical monologues, and theatrical improvisations.  The film was shot on 16mm, Super 8 and HD video in the kitchens, bedrooms, wedding halls, cafés, and mahjong parlors of New…

  • Drift and Bough

    Music by Stephen Vitiello + Molly Berg
“Back Again”
from the album “Between You and the Shapes you Take”
Courtesy 12k Filmmaker Lynne Sachs spends a winter morning in Central Park shooting film in the snow. Holding her Super 8mm camera, she takes note of graphic explosions of dark and light and an occasional skyscraper. The stark black lines of the trees against the whiteness create the sensation of a painter’s chiaroscuro. Woven into this cinematic landscape, we hear sound artist Stephen Vitiello’s delicate yet soaring musical track, which seems to wind its way across the frozen ground, up the tree trunks to…

  • Starfish Aorta Colossus

    Poetry watches film. Film reads poetry. Paolo Javier’s text is a catalyst for the digital sculpting of an 8mm Kodachrome canvas. Syntactical ruptures and the celebration of nouns illuminate twenty-five years of rediscovered film journeys. NYC poet Paolo Javier invited filmmaker Lynne Sachs to create a film that would speak to one of his poems from his newly published book Court of the Dragon (Nightboat Books). Sachs chose Stanza 10 from Javier’s poem “Starfish Aorta Colossus”. Together, they travel through 25 years of Lynne’s unsplit Regular 8 mm film that Sachs had shot — including footage of the A.I.D.S. Quilt…