Genres: experimental

  • Tiger

    “In ‘Tiger,’ pre-eminent experimentalist David Rimmer intercuts the movements of a caged tiger with images of untamed nature to create an unexpectedly eerie film. Superbly layered, the film wordlessly leaves us pondering our attempts to harness the forces of nature.” – Toronto International Film Festival, 1994 Sound Design: Dennis Burke

  • Time’s Wake (Once Removed)

    Described as “a collection of ‘windows’ on a personal past” “Time’s Wake (Once Removed)” incorporates material from an earlier version. On the earlier version: made from material I collected through the years when I went back to visit my parents at L’Ile d’Orleans, Quebec. It includes both home movie and other types of footage. In this film, the camera “I,” in extension with home movie reality, is a living participating entity. The film represents an endearing but removed artifact, a strange contradiction between liveliness and frozenness. (VG) “A beautiful film that frames the landscape with multiple devices (camera, window, trees)…

  • Tiny Bubbles

    A discreet sharing of secrets.

  • To Lavoisier, Who Died in the Reign of Terror

    Antoine Lavoisier (1743-1794) was a French chemist who gave the first accurate scientific explanation of the mysteries of fire. He also proved the law of conservation of matter, which states that matter can be neither created nor destroyed. His work and this film are situated between modern chemistry and alchemy. The film stages a drama of abstraction and theoretical realism. La vie quotidenne seen photo-chemically and musically. This film is a materialist projected-image conservation of matter. (MS)

  • TODESSTREIFEN – ein deutscher Film (TS VV III) | THE DEATHSTRIP – A German Film (TS VV III)

    An experimental narrative moving across inner borders and inner edges.

  • Toile, La / Shade

    “‘Shade’ is a near exhaustion of the possibilities between camera (aperture, focus) and nature (sun, wind). It is a beautiful study-poem on the undying presence that renders the world perceptually. In this minimal area, the variations are pursued with quiet doggedness, each frame revealing the secret of the next.” – Mike Reynolds, Berkeley Barb

  • Tom, Tom the Piper’s Son

    In “Tom, Tom, the Piper’s Son,” I rephotographed a 1905 short film. I wanted to show the actual present of the film, just to begin to indicate its energy. A train of images passes, like enough and different enough to imply to the mind that its eyes are seeing an arm lift, or a door close; I wanted to “bring to the surface” that multi-rhythmic collision contesting of dark and light two-dimensional force-areas struggling edge for identity of shape…to get into the amoebic grain pattern itself – a chemical dispersion pattern unique to each frame, each cold still… stirred to…

  • Big Adventure, The

    “The Big Adventure” is a mind-boggling subway ride that can best be described as a daily commuter’s dream come true. The time-lapse photography film was shot on Toronto’s University subway line. The ride starts at the top (Wilson) and races to the bottom (Union) at a simulated speed of 350 miles per hour! Although it appears to be one continuous run, the film is actually a compilation of seven trips down the line shot between 2:00 and 9:00 o’clock in the evening.

  • Toronto Summit

    Photographed during the convening of the G7 leaders in Toronto, Kneller’s materialist documentary pits street activists against the forces of law and order. This inner-city portrait shows a metropolis battened down for possible conflict – its streets closed and cordoned off while helicopters circle overhead in perpetual surveillance. As the film proceeds through dialectical montage, the two sides gather: the black shirts from windowed enclaves, and the protesters who gather to sing, dance and make speeches. Finally, open conflict breaks out, as the barricades fall and both sides clash in order to lay claim again to streets too easily ceded…

  • Tortured Dust (Part I-IV)

    “One aspect of the film’s ambition is perhaps to extend the metaphor of film-as-music from the familiar brief lyric…into the equivalent of a feature-length movie, or saga, the subject of which is a family maturing and dividing.” – A.L. Rees, British Film Institute While ill and experiencing some difficulty in completing the editing of this film, Brakhage was reading the Marguerite Young novel, “Miss MacIntosh, My Darling.” Coming upon the following passage in her book, he found renewed energy to continue and complete the work: “Why should she give birth, though she had worked in a pottery, to an urn,…