Genres: docufiction

  • Seaview

    Seaview (2015) is an experimental film which combines home video and captured footage from Karachi, Pakistan. Naqvi travels back to her family’s country of origin to compare childhood memories of this place with lived experience. In the first sequence, she shows video footage of her first trip to Clifton Beach in Karachi. The accompanying text describes her visit to the same beach seventeen years later, and the difficulties in trying to document this place, both as an image maker and as a woman. Naqvi confronts her own personal struggle of being caught between the ideals of Western and Eastern societies.…

  • The Taking of Jordan (All American Boy)

    Jordan, an amateur adult performer, recalls the horror of his many former lives.

  • Matin Dans Une Foret de Pins (Morning in the Pine Forest)

    The lives of six young people unfold in a journey through different worlds revealed and interwoven, where the boundaries between documentary and fiction, reality and dream cease to exist. The volatile and seductive landscape of urban and rural Latvia was treated as a rich context for the complex relationships one has with the world – inviting the viewer to come upon the questions that bind us in our common need to understand our humanness. This film is based on the lives of HELENA, EVA, JANKA, GUNTIS, ANNA and GALC.

  • This is a Crisis

    An anonymous bureaucrat traipses around the City of Toronto, repurposing hostile architecture as their playground. Featuring spliced audio of former mayor John Tory’s victory speeches from 2014, 2018, and 2022 municipal election nights, bleak scenes are juxtaposed with a heavy-handed narrative of progress and inclusion. Documented on January 31, 2023—weeks before Tory would resign—this public performance and accompanying video artwork offer a critique of procedural fetishism, the surveillance and criminalization of poverty, and what cities become when they leave the most marginalized behind.

  • ARK

    Ark describes a time when we had a front row seat where it seemed that we could see everything yet it felt as if we were seeing nothing at all. Over the years I’ve found fewer and fewer animals when I go out into nature to look at this or to film that. In the last year I haven’t found any wild animals and I’ve rarely heard any birds. So where have all the other animals gone? What has happened to them and what is going to happen to us? The human niche or ecological polis of human society has…

  • All my sign

    Shinjuku in winter, 2017-. I feel useless when I try to look at coincidence as inevitability or create romance from mundane things. So I drink alcohol now in an ordinary bar with nonsensical neon lights. I thought my destiny was to drink alcohol, by necessity alone, in any place. I never tried to change that. Then I make eye contact with a man sitting across from me. Outside the window it is snowing. Between the things that fall naturally and naturally, I was alone.

  • Why is water so heavy? vol i. time never changed water

    In part of an ongoing autobiographical-fictional collection entitled “Why is water so heavy?” (c. 2022-present), interlocking the fluidity and borderless nature of water in relation to diaspora and landmarking. I dwell on self-ambiguity as time continues to spatialize fragments of my ancestral histories and cultural practices lost in water.

  • A More Radiant Sphere

    A More Radiant Sphere tells the long-lost story of Communist poet, activist and Canadian political prisoner Joe Wallace, bringing him to life through archival material, both real and imagined. This hybrid film is shot primarily on 16mm film and weaves together the story of Wallace, the failed Canadian Communist Party, and the filmmaker’s own surprising discovery of her relation to Wallace through a distant relationship with her father (Joe’s great-nephew). Segmented throughout are folk songs based on Wallace’s writings, performed by award-winning folk musician Simone Schmidt, aka Fiver. The film delves into the limits of history and its records, and…

  • WE DON’T TALK LIKE WE USED TO

    “Shot between Hong Kong, Japan, and the US, this short is Joshua Gen Solondz’s most ambitious work to date, a portrait of the home and the world that is dense, textured, creepy, anxious, noisy, silly, and confounding, but always tender.”-TIFF “We Don’t Talk Like We Used To” continues Joshua Gen Solondz’s loose series of addled diary films with a film that is part travelogue, part affective almanac, and part cinematic noise show. With stops in Hong Kong, New Hampshire, Japan, and Brooklyn, the film alloys obscured faces, oozing on-screen text, throbbing abstractions, solarized superimpositions, and the occasional dad joke into…

  • Currents / Perpendicolare Avanti

    Currents / Perpendicolare Avanti is a camera-less, hand-made, 16mm film collage, based on the artist’s autobiographical experience as an immigrant. In three movements, the film explores the dynamics of inhabiting the in-between space of moving between multiple countries and their temporalities, through visual and sound abstraction, interlacing and recycling pre-existing film materials and, using fragments from anonymous orphan films. Utilizing these so-called scraps, Currents is a film of extensive remediation, treated by hand through the use of the emulsion lifting technique, thereby re-imagining, re-constructing, and de-constructing the liminality of immigrant life. The re-writing of the self in Currents is produced…