Film Categories: (De)colonization

  • Private Flowers

    In 1832, a Canadian Infantryman was hanged for making love with another man. The victim’s rank was Private, and his name was Flowers. Commissioned by Toronto History Museums’ Artist Mentorship Showcase: Pride with Mentor Ashley Mckenzie-Barnes with additional support from the open space residency programme at the National Ballet, TD Bank, Pride Toronto and the Ontario Arts Council. Created as part of Awakening with Toronto History Museums Private Flowers is part of a series of art projects by Black, Indigenous and artists of colour, operating under the principles of anti-oppression, anti-colonialism and anti-racism and is part of the City’s efforts…

  • Nimer (Family)

    Nimer—meaning “family” in the Even language—follows the life of a nomadic family in Yakutia as they navigate the delicate balance between tradition and modernity. Against the backdrop of harsh northern landscapes, the film captures their resilience, the strength of ancestral bonds, and the challenges of sustaining a way of life under pressure from social and cultural change. At its heart is the mother, who embodies both continuity and adaptation, teaching her children along their seasonal migrations while preserving the customs passed down through generations. Offering an intimate portrayal of everyday survival, devotion, and hope, Nimer invites audiences into a world…

  • Digital Evangelism

    Set in Montreal/Tiohtià:ke, where religious monuments and the remains of colonization can be found everywhere, Digital Evangelism observes technology’s increasing presence and replacement of religion in society. Juxtaposing catholic iconography, filmed on a vintage camera, with overlays of technology-themed GIFs notes how technology is worshipped, and internet usage feels like a religious experience, from AI being the all-knowing source, online figures being praised, and devoting hours a day to our phones.

  • 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.

  • Dear Moritz

    A short film essay that invites you to observe and reflect along a chance encounter between an artist, police and two friends in public space. A spontaneous moment attached to a loaded location, reflecting upon power, privilege, colonial pasts and present realities.

  • Una Sola Sangre

    “I have two homelands, but one blood,” says Silvia Galdes in Una Sola Sangre, the latest film by the Haitian-born, Toronto-based filmmaker Esery Mondesir. Silvia, along with her siblings Silverio and Estella, is a first-generation Haitian-Cuban, the daughter of Sylvain Galdes, one of an estimated 500.000 Haitians who migrated to Cuba for work in the early 20th century. Despite not seeing their father’s homeland until their sixth decades (and after the shooting of the film), the Galdes family and their social position in Cuba has long been marked by their Haitianness – an identity they and their children negotiate in…

  • Eid

    “Eid” follows two Palestinian women who are unable to visit their son’s graves. Eid explores the impact of borders and restrictive laws on fundamental human rights, focusing on the right to grieve. The film is inspired by the true story of Abdelaziz Ibrahim, an artist for the Palestinian Liberation Organization, who was killed by an Israeli airstrike in Tunisia.