Film Categories: Animals

  • Pigeon Hole

    Pigeon Hole comically expresses the filmmaker’s desire to set fire to the restrictive and reductive labels gays use to categorize one another and themselves, especailly via modern methods of hooking up such as online websites and apps. A proclamation of liberation from marginalizing stereotypes and sexual exclusvitiy, the video features labels and descriptors culled from online profiles paired with footage of pigeons and the filmmaker burning down a large birdhouse. The Inside Out LGBT Film Festival commissioned Pigeon Hole for the “In Your Pocket: What’s Your Sex?” project challenging selected filmmakers to shoot and create a short video work utilizing…

  • Stop Calling Me Honey Bunny

    It’s a journey most of us are familiar with. One that starts with lust, passion, intense love and joy and eventually dwindles down the road of routine, familiarity and day to day banalities. Once flirtatious and sexually charged exchanges give way to grocery list reminders and ‘honey, do you have to chew like that?’ type requests. But what happens when a couple of bunnies, who started off their relationship shagging like… well, bunnies… find themselves in the same bind? ‘Stop Calling Me Honey Bunny’ follows our bunny couple on their dedicated journey to revive their sex life. From role play,…

  • Opening Day

    a countdown. a gate. a super 8. a finish line. ( Produced as part of Vancouver’s first edition of One Take Super 8)

  • 04/19/1968

    Layers of history merge with layers of media in this hybrid experimental film. An autobiographical ode to the filmmaker’s family and what’s left of their memories. A remediation collage of 16mm film, old 35mm Kodak slides and a digital computer screen. Filmed with an old DSLR camera at a specific angle in order to capture the ethereal reflections.

  • Atmospheric Pressure

    As cows are milked on a British dairy farm a cataclysmic storm builds on the horizon. A mysterious meteorologist investigates the bizarre weather event and follows his equipment to the farm. But in the face of such contingency (the driving rain and restive animal life) can his research yield any results?

  • Like A Canon

    Li’l bunny moves past her fear of losing her home and into action and recruitment. A commissioned work for the ECHO PARK FILM CENTER in celebration of their 14th year of operation. Created and presented in part with hand-processed Black & White super 8 film.

  • Congress

    Mediated under flight and wing, possible collective memories are represented through a prism of vast tundra landscapes, a wrecked 19th century paddleboat, and ancient lichen fields. Time, place and history become nostalgic remnants from the Yukon Territory.

  • A Letter from Huami

    In 2069, a few rolls of films were found in a regeneration center occasionally. Then scientists extracted the genes from the hair which were left on the films to give a cat -Huami a new life. With human’s consciousness and the memories which belongs to the past time, Huami wrote a letter to her owner in 2019…

  • Prairie Grizzly’s Peneplain

    “Prairie Grizzly’s Peneplain” is a meditation on various natural and manufactured landscapes in southern Saskatchewan. This region is part of an ancient Precambrian seabed rebounding from the last Ice Age which once had a dynamic range of wildlife, plants, and wetlands supporting various ancient cultures that flourished here for millennia. Up until the late 1800‘s the Prairie Grizzly thrived on the Canadian Prairies. The bears that managed to migrate further west to the Rocky Mountains faced a difficult transition, although they have managed to survive in their new homes. Along with the plains buffalo, the have become a presence in…

  • Learning to Eat Soup

    Last summer, during a family vacation in the countryside, my daughter mistook the flowers for butterflies, expecting them to fly away. When we returned this year, she seemed to have forgotten that confusion and understood the difference quite well. So, I tried to use my camera to see things how she had once seen them. But, of course, the more I used my camera to see things differently, the further removed I became from childhood, nature, and all things romantic. The title comes from an essay by Edward Hoagland.