Genres: documentary

  • Coward

  • Secret Place

    A glimpse of a secret place within the busy Toronto neighbourhood of Queen West.

  • Destroying Angel

    “Destroying Angel” is an experimental documentary that relates two stories of illness, and weaves them into a filmic tapestry of family history, memory and loss. The narrator, confronted with his own mortality, guides us through a landscape of recollections, dreams, close friendships and family ties. Narratives about present-day events interplay with lyrical reminiscences of the past. Eventually, just as the past always informs the present, the two styles of narrative begin to merge. In the end, we are left with a moving portrait of the struggles involved in dealing with AIDS, cancer, memory and intimate relationships. “What was clear from…

  • Man Who Built My Childhood, The (The Epic Story of My Life Appendix B)

    Brian Stockton’s series of humourous autobiographical shorts takes a detour into architecture with this 5-minute “appendix” about renowned Saskatchewan architect Joseph Pettick. Pettick has designed a staggering 500 buildings in Saskatchewan, and his impact on the province and the filmmaker is enormous. “I have lived my life in Joseph Pettick’s buildings” states the narration. Stockton explores three of Pettick’s masterpieces including Grant Road Elementary School which had a huge impact on the filmmaker’s early life and has figured prominently in Stockton’s EPIC STORY OF MY LIFE series.

  • Whitmore Park (The Epic Story of My Life Part 4)

    Brian Stockton’s series of humourous autobiographical short films goes beyond his acclaimed SASKATCHEWAN TRILOGY and into the suburban neighbourhood of Whitmore Park. Filled with ruminations about ‘the future’, strange performance art projects from grade four, and the beginnings of a life as a filmmaker, “Whitmore Park” transcends the neighbourhood and revels in the ‘epic’ story of a life in the suburbs. Like others in the series, the film is a unique mix of documentary, drama and animation, all presented in the visual feast of 35mm Cinemascope.

  • Saskatchewan Part 3

    Brian Stockton’s series of eccentric autobiographical short films continues with “Saskatchewan Part 3,” the conclusion of THE SASKATCHEWAN TRILOGY. Part 3 takes a humourous, animated look at the filmmaker’s family tree, and how it is that his grandparents ended up in Saskatchewan in the early 20th century. As with the previous installments, “Saskatchewan Part 3” is a melange of personal history. family mementos, and Saskatchewan lore, mixed tobether with a bone-dry sense of humour. Filmed in glorious 35mm cinemascope, “Saskatchewan Part 3” seeks to define what it means to come home.

  • Deviate

    “Deviate” is a short Super 8 film made specifically for the Memorial Project. While friends of Dan Moyen, who died of AIDS in 1990, talk about him, the viewer sees old footage of Dan expressing his feelings on the matter.

  • So Called Equals

    In 1969 a few pioneers decided that everyone had rights, regardless of their sexual orientation. Since that time, much has changed, but not enough. Spain is one of the few countries that allow marriage between people of the same sex. The democratic ideal of being ‘equal before the law’ is a reality in this territory. However, another challenge arises: society’s acceptance of this new legal reality.

  • Dialogue with Vision: The Art of Spring Hurlburt and Judith Schwarz, A

    An innovative half-hour film featuring two contemporary Canadian women artists at work. Spring Hurlbut and Judith Schwarz have exhibited their large site-specific sculptures throughout the world. The film gives the viewer a unique opportunity to examine the often intangible creative process which an artist explores on the way to completing a work of art. No ordinary documentary, compelling visuals and a haunting soundtrack make “A Dialogue with Vision” a pleasure for all.

  • White Palace

    My early performances in thriller genres are reconsidered in a rehabilitation of images in this film. Though once renounced by me as complicit and misogynist, my filmed body is treated as recoverable for liberation of my memory.