Film Categories: Class-struggle

  • The Shadow of My Life

    Hanna, a recent immigrant to Canada from Iran, struggles with depression as she tries to process memories of Iran and find her place in a new country. As she rediscovers her passion for painting she finds inspiration from other artists. Told in graphic monochrome animation with occasional striking splashes of red. Image description: A graphic drawing in stark black-and-white depicts a woman and her shadow considering themselves in a mirror.

  • Avanti!

    “Avanti!” is inspired by Antonio Gramsci’s writings: as an idealistic young man, a romantic, a father, and a revolutionary. Throughout the work I explore themes of translation and research. What happens in the shift from detached researcher to impassioned participant? “Avanti!” considers what we lose when we reduce a person to only their thinking, when we abstract them from their lives. Image description: Blurry black-and-white close-up of a person’s face, yelling or laughing (?), with eyes closed and open mouth.

  • Pur Laine

    PUR LAINE is a story about Ruby, a filipina, married to Roy, a Quebecois man, who dies and leaves her penniless. Ruby struggles with Roy’s drug addict daughter, Marie Claire, over who gets to sell Roy’s house, which also happens to be Marie Claire’s childhood home. A dramedy of errors, their collision reveals what they really want on the inside.

  • The Places We Lived

    The Places We Lived uses a large family archive of Super8 and digital home movies from the mid-1970s to late 1990s to grapple with the hopes, dreams, and disappointments of two South American immigrants who moved to Montreal in the wake of the excitement and optimism generated by Expo ’67. This story focuses on the father, Jose (“Pepe”), whose life in Canada followed four hardscrabble decades in Chile. A story about childhood and fatherhood, aging, capitalism, and obsolescence, The Places We Lived opens up new questions about class, memory, diasporic narratives, and the complicated histories of migration and exile.

  • Orgy of the Blood Parasites

    J. G. Ballard’s novel High-Rise and Cronenberg’s film Shivers, both of which detail an apartment building’s descents into chaos, were released in 1975, creating a collision in history as fascinating as it is bizarre. Both are about non-normative sex in imposing spatialities and both are visions of disturbed surrealist dystopia of body mutations. Later in his career, in 1996, Cronenberg adapted a J. G. Ballard novel with the fetishistic film Crash, but in Shivers, dread and disgust circulate spatially around the apartment complex on Nun’s Island, next to the city of Montréal, to which I have returned. I bring together…

  • En Memoria

    In a dystopian future, a mother struggles to finish making her daughter’s quinceañera dress.

  • To Make Ends Meat 心頭肉

    As a Chinese-style sausage factory in Vancouver’s Chinatown closes down, the legacy and community it has fostered for over a century is celebrated and remembered through the eyes of one of its workers. Embracing subjectivity, intergenerational relationships and cultural revitalization, To Make Ends Meat 心頭肉 is a call to commemorate the old, in a city fixated with newness.

  • A Semiotic Square for Violent Bear

    What does our culture dream? How can we locate that dream within the logics which govern our lives? Half collage, half essay, half serious, “A Semiotic Square for Violent Bear” is a busy, referential riff on the political moment.

  • Two or Three Saprophytes

    Two or Three Saprophytes is a video essay that traces a speculative history of the industrial revolution, its ecological backdrop, and its intellectual legacy of growth-based thinking. Breaking from strictly didactic or documentary forms, the film defracts its historical research through a hallucinatory poetic lens, mixing critique and fantasy to frame the interconnected histories of mushrooms, trees, coal, chemicals, machines, and capitalists as a kind of ecological ghost story. Visual and textual motifs of circles, spirals, hexagons, and “revolutions” punctuate the film, sketching associations and contrasts between historical movements, economic patterns, rotational pistons, chemical diagrams, and ecological balance. Posing a…

  • Salvage Archives

    Salvage Archives continues Rufelds’ research into cultural and subcultural expressions of late capitalist alienation, and the forms of collective storytelling that take shape under the shadows of unjust material systems. Told in a hybrid narrative style, mixing elements of essay film, social realism, and neo-noir, Salvage Archives oscillates between two narrative threads, counterposing a lonely online conspiracy theorist and a disembodied historian of agriculture. The two figures recount their stories in alternating chapters, perversely mirroring each other as they wade into the knotted abstractions of capitalist productive systems, logistics networks, patterns of accumulation, and systemic waste. As both narrators’ grandiose…