Genres: experimental

  • (ab) NORMAL

    “In ‘(ab)NORMAL’ the relationship spectrum, from paranoid avoidance to smothering and overwhelming attention, is traced through four pixilated sketches.” – Toronto International Film Festival

  • Adagio

    Music as sensuous and longing as a fragrance. Phrases that rise and fall slowly at first, then more and more passionately. A love poem. And also a study of the relation between film phrases and musical phrases. As in the music, the film uses only fades and dissolves between statements. Based on Samuel Barber’s “Adagio for Strings.”

  • Babylon Series #2

    Out of the vagueries of sometime beseeming repetitive light patterns, and the delicately variable rhythms of thought process, the imagination of The Monumental and of the Ephemeral are born to mind hard as nails.

  • Plein Air Etude

    An ecstatic, kinetic formal study of light, colour, and movement shot in the region of the Montreal River which so inspired members of the Group of Seven.

  • Politics of Perception, The

    Selected for the 11th Paris Biennale of Modern Art and included in the collection of numerous museums and universities, “The Politics of Perception” is a film essay concerned with the language of the film medium. At its point of departure, it is a meditation on the images, sounds, rhythm and sub-text of the “entertainment” film. A Hollywood discourse is stripped of its fleshly covering to reveal the mechanics of its manipulations, at the same time liberating the kinematic and photochemical energies “trapped” in its representational content/form. At its apogee it is an invocation of the forms and textures of film…

  • Babylon Series #3

    This is an architectural garden of the variably brash rock-solid liquid-encompassing, but always imitative, human mind as it processes the given light thoughtfully. This film is about that.

  • Presence, The

    “The Presence” reflects some sight of Insect as Being. The imagined aura and environment of a beetle creates a “world” wherein this solitary insect may simply be seen.

  • Presents

    “The apparent vertical scratch in celluloid that opens ‘Presents’ literally opens into a film within the film. When its figures awakens into a woman in a ‘real’ set, the slapstick satire of structural film begins. It is not the camera that moves, but the whole set, in this first of three material ‘investigations’ of camera movement. In the second, the camera literally invades the set; a Plexiglas sheet in front of the dolly crushes everything in its sight as it zooms through space. Finally, this monster of formalism pushes through the wall of the set and the film cuts to…

  • Pressures of the Text, The

    “The Pressures of the Text” integrates direct address, invented languages, ideographic subtitles, sign language, and simultaneous translation to investigate the feel and form of sense, the shifting boundaries between meaning and meaninglessness. A parody of art/critspeak, educational instruction, gothic narrative, and pornography, it has been performed as a live work at major media centres and new music festivals nationwide. The piece was written, directed and delivered by Peter Rose; co-directed by Jessie Lewis; with sign language and ideographic symbols by Jessie Lewis; and with English simultran by Fred Curchack.

  • Pretending We Were Indians

    “This short animated film represents the recollections of a woman whose native ancestry was obscured by the social mores of the recent past. Tracing fragments of information as she walks, the woman speculates on what really happened to her ancestors and herself.” – Frances Leeming