Language: No dialogue

  • Edgy Sexy Modern

    Edgy Sexy Modern is shopping as ritual — a twenty-first century, yet primeval dance. Edgy Sexy Modern was shot entirely inside mega-malls with a pocket camera that was dismissed or unnoticed by security guards and public alike. By using many creative editing techniques, this film unmasks mass behaviours and intimate, unguarded moments between individuals. The ritual is enacted in front of logo texts like Armani, Lacoste, Holt Renfrew, Banana Republic, Apple, and Tesla. No product is ever shown, but we know what these logos signify. Outside class, race and ethnicity may divide the cosmopolis, but inside the mega-mall the diversity…

  • Meer der Dünste (Sea of Vapors)

    A cascade of images cut frame by frame flow into an allegory of the lunar cycle.

  • La Estancia

    “Through a succession of subtly constructed tableaus, this powerful film is a profound critique of systematic oppression. Instigated by a massacre amidst a land-rights conflict in Paraguay, this haunting work transcends the local context to voice the struggle for essential freedoms.” — 60th International Short Film Festival Oberhausen (Germany, 2014)

  • Dialogue

    Dialogue brings together two disciplines of printing and cinema. Working directly onto the surface of 16mm and 35mm film stock using letterpress, Judith Poirier utilizes an aleatoric approach to animation, generating intuitive compositions governed by elements of chance and surprise. The typographic forms, once translated as a soundtrack, vary from the harmonious to the discordant. From the starting point of the alphabet as a series of abstract symbols, a visual representation of the spoken word, this film explores the acoustic and visual rhythm of type.

  • brouillard #14

    brouillard #14 is the result of in-camera temporal layers shot on the path that extends from the filmmaker’s family cottage to a lake. “In his ongoing brouillard – passages series, Alexandre Larose creates long-take sequences by superimposing first-person, Hamish Fulton-esque walking trajectories shot along a man-made path leading to a lake. Using a lens wide enough to condense the human eye’s field of vision into the frame’s 1.33 aspect ratio, Larose creates spectral superimpositions infused with a meteorological mix and the intense lusciousness of the Quebec landscape.” — Andréa Picard

  • Béton brut

    Béton brut celebrates both the fine detail and monumental scale of London’s Brutalist structures.

  • Aileron

    A take on the myths of Sisyphus and Ophiuchus. The filmmaker imparts the ending of a motion to a rolling ball and likening it to that of psychosis that can be described as a giant rolling boulder. This “boulder” is symbolized by a medicine ball in the film.

  • Desert Road

    Sage hangs from a rear-view mirror to impart wisdom while a prayer for peace meets mysticism. All things that are left wild are better left untouched by the fingerprint of Man as he travels to a burning oasis in the desert only to find his vision cleansed as he looks further.

  • Drawing A Blank

    A psychedelic B&E leaves a sketchbook open and results in a lot of questions. A paradoxical sacrifice is made when one is committed to the page. Does one make high art, for the main stream or low brow art?

  • Going Very Steady

    Going Very Steady is a film about the Id, finding one’s identity in a world governed by authority, and society’s Super Ego as it appears as a menacing, marching work force.